1 (return)
[ Da Ponte, Mem., I., 2 p.
98.]
2 (return)
[ Mozart wrote the
beautiful air "Non sö d'onde viene" for him on March 18 (512 K., Vol. I.,
p. 422).]
3 (return)
[ Cramer, Mag. Mus., 1788,
II., p. 47.]
4 (return)
[ His naïve and highly
entertaining autobiography appeared in Leipzig in 1801.]
5 (return)
[ Dittersdorf,
Selbstbiogr., p. 228.]
6 (return)
[ Gerber, A. M. Z., I., p.
307; ibid, III., p. 377. Cf. Biedenfeld, Die Komische Oper, p. 60.]
7 (return)
[ Berl. Mus. Wochenbl.,
1791, pp. 37, 54, 163.]
8 (return)
[ Müller, Abschied, p.
277.]
9 (return)
[ Cramer, Magaz. f. Musik,
1788, II., p. 53.]
10 (return)
[ "Mozart auf der Reise
nach Prag" is the title of a novel by Eduard Möricke (Stuttgart, 1856),
written with the author's usual grace and delicacy. At the same time it is
to be regretted that he has laid so much stress on the lighter, more
worldly side of Mozart's character; and it is scarcely conceivable that a
poet could have ascribed to Mozart a manner of composition which was as
far as it was possible to be from his nature as an artist.]
11 (return)
[ Particulars concerning
this visit to Prague are given by J. R. Stiepanek in the preface to his
Bohemian translation of "Don Giovanni" (Prague, 1825, German translation
by Nissen, p. 515)* The Prague reminiscences are revived also in the
"Bohemia" (1856, Nos. 21-24). Heinse gives some details communicated by L.
Bassi (Reise—u. Lebensskizzen, I., p. 208), and J. P. Lyser draws
from the same source in his Mozart-Album (Hamburg, 1856). These accounts
are, however, wanting, not alone in aesthetic culture, but in the
discernment of what is historically true. On a lower level still must be
placed Herib. Rau's "Cultur-historischer Roman" "Mozart" (Frankfort,
1858), which has little in common either with culture or history; his
description of the visit to Prague is in especial a more appalling calumny
on Mozart's moral and artistic character than has been ventured on by any
of his opponents.]
12 (return)
[ Ost und West, 1839, No.
42, p. 172. A memorial tablet was afterwards placed on this house.]
13 (return)
[ The vineyard is called
Petranka (Smichow, No. 169), and belongs, according to the "Bohemia"
(1856, p. 118), to the merchant Lambert Popelka.]
14 (return)
[ In the autograph score
the duet is written on smaller paper, and somewhat more hastily than the
other numbers, as was the case with Masetto's air.]
15 (return)
[ Castil-Blaze has
accepted these professional fables as literal truth (Molière Musicien, I.,
p. 310).]
16 (return)
[ Da Ponte, Mem., I., 2,
p. 103.]
17 (return)
[ The recitative and
these two passages are omitted from the autograph score, which prevents
any identification of the alterations. In "Idomeneo" the Oracle is
accompanied only by trombones and horns. Gugler throws doubt on the
anecdote (Morgenbl., 1865, No. 33, p. 777).]
18 (return)
[ At the wedding
festivities in Vienna, on October 1, Martin's "Arbore di Diana" was
performed (Wien. Ztg., 1787, No. 79, Anh.), and was repeated nine times in
the same year.]
19 (return)
[ Wien. Ztg., 1787, No.
84. "Don Giovanni" was to have been played for the first time on this
occasion, and Sonnleithner informs me that a book of the words had
actually been printed, with the title-page, "Da rappresentarsi nel teatro
di Praga per l'arrive di S. A. R. Maria Teresa, Archiduchessa d' Austria,
sposa del Ser. Principe Antonio di Sassonia l'anno 1787." Here the first
act closes with the quartet (8); the second act is intact. The performance
did not take place, the Princess leaving Prague on October 15.]
20 (return)
[ Niemetschek, p. 87.]
21 (return)
[ In Mozart's Thematic
Catalogue the subject of the overture is entered under date October 28,
with the title, "Il Dissoluto Punito, o il Don Giovanni: Opera buffa in 2
Atti—Pezzi di Musica 24." The overture is, as usual, written as a
separate piece, hastily, but with scarcely any alterations.]
22 (return)
[ A very unfavourable
account of his greed for gain and unscrupulousness is given in the A. M.
Z., II., p. 537.]
23 (return)
[ Da Ponte, Mem., I., 2,
p. 103. The fee which he received was fifty ducats.]
24 (return)
[ Wien. Ztg. (1787, No.
91): "On Monday, October 29, Kapellmeister Mozart's long-expected opera,
'Don Giovanni, das steinerne Gastmahl,' was performed by the Italian opera
company of Prague. Musicians and connoisseurs are agreed in declaring that
such a performance has never before been witnessed in Prague. Herr Mozart
himself conducted, and his appearance in the orchestra was the signal for
cheers, which were renewed at his exit. The opera is exceedingly difficult
of execution, and the excellence of the representation, in spite of the
short time allowed for studying the work, was the subject of general
remark. The whole powers, both of actors and orchestra, were put forward
to do honour to Mozart. Considerable expense was incurred for additional
chorus and scenery, which has been generously defrayed by Herr Guardasoni.
The enormous audience was a sufficient guarantee of the public favour."]
25 (return)
[ So the story was told
on the authority of Mozart's son, in the Berl. Musikztg. Echo (1856, No.
25, p. 198).]
26 (return)
[ L. de Loménin,
Beaumarchais et son Temps, II., p. 399.]
27 (return)
[ Da Ponte, Mem., I., 2,
p. 98. Mosel, Salieri, pp. 98, 128.]
28 (return)
[ Wien. Ztg., 1788, No.
3. Müller, Abschied v. d. Bühne, p. 277]
29 (return)
[ Da Ponte, Mem., I., 2,
p. 108. A. M. Z., XXIV., p. 284. In 1788 "Axur" was performed twenty-nine
times.]
30 (return)
[ Mus. Korr., 1790, p.
30.]
31 (return)
[ Berlin. Musik.
Wochenbl., p. 5.]
32 (return)
[ Wien. Ztg., 1788, No.
38. My friend Gabr. Seidl informs me that in the accounts of the theatre
for 1788-1789 is the entry (pp. 45,127): "Dem da Ponte Lorenz fur
Componirung der Poesie zur Opera il Don Giovanni, 100 fl."; and pp. 47,
137: "Dem Mozart Wolfgang fur Componirung der Musique zur Opera il Don
Giovanni, 225 fl."]
33 (return)
[ Da Ponte, Mem., I., 2,
p. 104.]
34 (return)
[ "Don Giovanni" was
performed fifteen times during this year. Lange's assertion, therefore,
that it was withdrawn after the third representation rests upon an error.
But after 1788 it was removed from the stage, and did not reappear until
November 5, 1792, in a miserable German adaptation by Spiess. According to
Da Ponte the Emperor exclaimed, after hearing "Don Giovanni": "The opera
is divine, perhaps even more beautiful than 'Figaro.' but it will try the
teeth of my Viennese." To which Mozart answered, on hearing the remark,
"We will give them time to chew it." Joseph went into head-quarters on
February 28, 1788, and did not return to Vienna till December 5 (Wien.
Ztg., 1788, No. 18); he can only, therefore, have been present at the last
performance of the year, on Dec. 15.]
35 (return)
[ A. M. Z., XXIV., p.
284.]
36 (return)
[ The different pieces
are numbered in the same order in the announcement of the pianoforte score
(Wien. Ztg., 1788, No. 42, Anh.).]
37 (return)
[ Cramer, Magazin d.
Mus., July, 1789, p. 47.]
38 (return)
[ Cavalieri wished to
sing it in E major instead of E flat major, and Mozart therefore made a
transition into E at bar 19 of the recitative, and wrote over the air
itself, "in E."]
39 (return)
[ He first appeared at
Easter, 1788, in the "Barber of Seville" (Wien. Ztg., 1788, No. 34,
Anh.).]
40 (return)
[ Journal der Moden,
1790, p. 50.]
41 (return)
[ Schink, Dramaturgische
Monate (1790), II., p. 320.]
42 (return)
[ Schneider, Gesch. d.
Berl. Oper, p. 59. A notice from Berlin in the Journal der Moden (1791, p.
76) says: "The composition of this opera is fine, although here and there
it is very artificial, heavy, and overladen with instruments."]
43 (return)
[ Chronik v. Berlin, IX.,
p. 132. Cf. XI., p. 878.]
44 (return)
[ "Don Giovanni" was
given five times within ten days.]
45 (return)
[ Chronik v. Berlin, IX.,
p. 316.]
46 (return)
[ Mus. Wochenbl., p.
158.]
47 (return)
[ Mus. Monatsschr., p.
122.]
48 (return)
[ Mus. Wochenbl., p. 19.]
49 (return)
[ Jacobi wrote to Herder,
in July, 1792: "We were terribly bored by yesterday's opera; it is an
insupportable affair, this 'Don Juan'! A good thing that it is over."
(Auserl. Briefw., II., p. 91.)]
50 (return)
[ Briefw., 403,1., p.
432. Schiller had written (402, I., p. 431): "I have always had a certain
amount of hope that the opera, like the choruses of the old hymns to
Bacchus, would be the means of developing a nobler conception of tragedy.
In the opera, a mere servile following of nature is forsaken, and the
ideal, disguised as indulgence, is allowed to creep on the stage. The
opera, by the power of music and by its harmonious appeal to the senses,
attunes the mind to a higher receptivity; it allows of a freer play of
pathos, because it is accompanied by music; and the element of the
marvellous, which is suffered to appear in it, makes the actual subject a
matter of indifference."]
51 (return)
[ Bohemia, 1856, No. 23,
p. 122.]
52 (return)
[ A. M. Z., XXXIX., p.
800.]
53 (return)
[ A. M. Z., XL., p. 140.]
54 (return)
[ A. M. Z., XXXIX., p.
810.]
55 (return)
[ Castil-Blaze, L'Acad.
Impér. de Mus., II., p. 98.]
56 (return)
[ Castil-Blaze, Molière
Musicien, I., p. 321. Cf. Siever's Càcilia, IX., p. 208. A. Schebest, a.
d. Leben e. Künstlerin, p. 202.]
57 (return)
[ Castil-Blaze, Molière
Musicien, I., pp. 268, 323. L'Acad. Impér. de Mus., II., p. 241.]
58 (return)
[ Leipzig, A. M. Z.,
1866, p. 192.]
59 (return)
[ "Don Juan," opéra en 2
actes et 13 tableaux. Édition du Théätre Lyrique.]
60 (return)
[ Pohl, Mozart und Haydn
in London, p. 149.]
61 (return)
[ A. M. Z., XIII., p.
524. Stendhal, Vie de Rossini, p. 6.]
62 (return)
[ A. M. Z., XIV., p. 786;
XV., p. 531.]
63 (return)
[ A. M. Z., XVI., p.
859.]
64 (return)
[ A. M. Z., XVIII., p.
232.]
65 (return)
[ A. M. Z., XX., p. 489.]
66 (return)
[ A. M. Z., XXVI., p.
570.]
67 (return)
[ A. M. Z., XXV., p.
639.]
68 (return)
[ Scudo, Crit. et Littêr.
Mus., I., p. 121. For similar remarks on an older Italian singer, see A.
M. Z., XXV., p. 869.]
69 (return)
[ Viardot, Manuscr.
Autogr. du D. Giov., p. 10. It must be remembered that Rossini's arrival
in Paris, in 1823, was the signal for a party warfare between the
Mozartists and Rossiniists, similar to that waged by the Gluckists and
Piccinnists. Cf. A. M. Z., XXV., p. 829.]
70 (return)
[ Da Ponte, Mem., III.,
p. 43. Scudo, Crit. Littér. Mus., I., p. 178.]
71 (return)
[ Castil-Blaze, Molière
Musicien, I., p. 329.]
72 (return)
[ Da Ponte, Mem., III.,
p. 54.]
73 (return)
[ Da Ponte, Mem., III.,
p. 58.]
74 (return)
[ Rochlitz, A. M. Z., I.,
p. 51.]
75 (return)
[ E. T. A. Hoffmann's
"Don Joan, eine fabelhafte Begebenheit, die sich mit einem reisenden
Enthusiasten zugetragen," written in September, 1812 (Hitzig Hoffmann's
Leben, II., p. 35), appeared in the first volume of his "Phantasie-stücke
in Callot's Manier" (Bamberg, 1813). The novel and striking ideas
contained in the article made a great impression at the time, and to
Hoffmann is due the merit of adducing from the music the poetical and
psychological truth of the opera.]
76 (return)
[ I will here only
mention H. G. Hotho, Vorstudien fur Leben und Kunst (Stuttgart, 1835), p.
1; Victor Eremita, Det Musikalsk-Erotiske, in Enten-Eller (Copenhagen,
1849), I., p. 25; and P. Scudo, Crit. et. Littér. Music., I., p. 150.
Others will occur later on; but a compilation of all that has been
written, to the purpose or not, on the subject of Don Juan would be a very
tedious and not a very profitable labour.]
77 (return)
[ The usual title of
opera buffa is given to "Don Giovanni" by Mozart in his Thematic
Catalogue; in the libretto it is called "dramma giocoso."]
78 (return)
[ On the adaptations of
this subject cf. Cailhave, De l'Art de la Comédie (Paris, 1785), III., ix
t.; II., p. 175; Kahlert, Die Sage vom Don Juan (Freihafen, 1841), IV., 1,
p. 113. Much serviceable information, together with some nonsense, may be
found in Castil-Blaze, Molière Musicien, I., p. 189. A collection of Don
Juan literature in the Russian language, by C. Swanzow, has been sent to
me by the author.]
79 (return)
[ The name and arms of
the family of Tenorio (once distinguished in Seville, but long since died
out) are given by Castil-Blaze (p. 276), from Gonzalo Argole de Molina's
Nobleza de Andaluzia (Seville, 1588), p. 222. According to Favyn (Théätre
d'Honneur et de Chevalerie, Paris, 1620) Don Juan Tenorio was the
companion of King Pedro (1350-1369) in his cruelties and lusts.]
80 (return)
[ The legend is told by
Castil-Blaze (p. 221), after Puibusque, Hist. Comparée des Littér. Espagn.
et Franç. (Paris, 1843). Schack asserts that it is still current in
Seville, and sold in the streets on loose sheets, in the form of a
romanze.]
81 (return)
[ Castil-Blaze, p. 222.
Arnold (Mozart's Geist, p. 298) says that the true source is a political
romance by a Portuguese Jesuit, entitled "Vita et mors sceleratissimi
principis Domini Joannis."]
82 (return)
[ Schack, Gesch. der
dram. Litt. u. Kunst in Spanien, II., p. 552. L. Schmidt, Die vier bedeut
Dramatiker der Spanier, p. 10. Tellez died in 1648, seventy-eight years
old; in 1621 he had already written three hundred comedies.]
83 (return)
[ An epitome of the
piece, published in Eugenio da Ochoa's Tesoro del Teatro Espaniol (Paris,
1838, IV., p. 73), was given by Cailhava, II., p. 179. Kahlert and
Castil-Blaze. It is now accessible in the translations of C. A. Dohrn
(Spanische Dramen, I., p. 1) and L. Braunfels (Dramen aus u. n. d. Span.,
I., p. 1).]
84 (return)
[ The part of Tisbea is
very charmingly treated; Byron has made use of this part of the subject.]
85 (return)
[ When Don Juan swears to
marry Aminta, he says, with ambiguous mockery:—]
86 (return)
[ Schack (II., p. 569),
quoting from a license to publish Tirso's works, says that they contain
nothing which could offend good manners, and that they present admirable
examples to youth.]
87 (return)
[ Schack (II., p. 679).]
88 (return)
[ Riccoboni, Hist. du.
Théätre Ital., I., p. 47.]
89 (return)
[ Castil-Blaze (p. 263)
has a list of the editions.]
90 (return)
[ Goldoni, Mém., I., p.
163. Eximeno, L'Orig. d. Musica, p. 430.]
91 (return)
[ Cailhava, in an
analysis of the Convitato (II., p. 186), remarks that he has observed
trifling alterations in different performances, but that in essentials the
piece is always the same. A more detailed analysis of a later piece,
differing somewhat in detail, is given by Castil-Blaze (I., p. 192).]
92 (return)
[ Castil-Blaze's piece
omits this adventure, and begins with Donna Anna and the murder of the
Commendatore.]
93 (return)
[ Castil-Blaze's sketch
inserts the peasant wedding here.]
94 (return)
[ This piece alone was in
writing, all the rest was improvised.]
95 (return)
[ Castil-Blaze, I., p.
243.]
96 (return)
[ Dictionnaire des
Théätres de Paris, II., p. 539.]
97 (return)
[ The French pieces are
enumerated in the Dictionnaire des Théätres de Paris, II., p. 540.]
98 (return)
[ This absurd title,
arising from an error of translation (Convitato Convié), not only held its
ground in France, even after its exposure by De Visé (Mercure Galant,
1677, I., p. 32), but it was rendered still more nonsensical in its German
form, "Das steinerne Gastmahl," which was the usual title in the last
century.]
99 (return)
[ In the same year, 1659,
Tirso's drama was played in Paris by Spanish actors (Castil-Blaze, p.
247).]
100 (return)
[ Castil-Blaze, I., p.
246.]
101 (return)
[ Goldoni, Mém., I.,
29, p. 163.]
102 (return)
[ Cailhava, II., p.
193.]
103 (return)
[ Dictionnaire des
Théätres, II., p. 542.]
104 (return)
[ Dav. Erskine Baker,
Biographia Dramatica (London, 1782), II., p. 188. Th. Shadwell, Poeta
Laureatus under William III., lived 1640-1692.]
105 (return)
[ Schack, III., p.
469.]
106 (return)
[ Müller, Abschied, p.
63.]
107 (return)
[ Meyer, L. Schroder,
I., p. 153; Cf. II., 2, pp. 55, 144.]
108 (return)
[ Meyer, II., 2, p.
44.]
109 (return)
[ Meyer, II., 2, p.
179. Schütze, Hamburg. Theatergesch., p. 375.]
110 (return)
[ [Oehler] Geschichte
des ges. Theaterwesens zu Wien, p. 328.]
111 (return)
[ Sonnenfels, Ges.
Schr., III., p. 139. Pohl showed me a printed table of contents, without
date or place: "Das steineme Gastmahl, oder die redende Statue sammt Arie
welche Hanns-Wurst sin get, nebst denen Versen des Ere-miten und denen
Verzweiflungs-Reden des Don Juans bey dessen unglücksee-ligen
Lebens-Ende."]
112 (return)
[ Three puppet plays
from Augsburg, Strasburg, and Ulm have been published by Scheible (Das
Kloster, III., p. 699); they are very mediocre. Molière's "Don Juan," as
an opera for puppets, was played in Hamburg in 1774 (Schletterer, Deutsch.
Singsp., p. 152).]
113 (return)
[ Dictionnaire des
Théätres, II., p. 540.]
114 (return)
[ Mém. sur les
Spectacles de la Foire, I., p. 153.]
115 (return)
[ Schmid, Gluck, p. 83.
Castil-Blaze conjectures (I., p. 265) that this ballet was written in
Parma, in 1758. Sara Goudar, in her Remarques sur la Musique Italienne et
sur la Danse (Paris, 1773), writes about Gluck: "Gluck, Allemand comme
Hasse, l'imita [Jomelli]; quelquefois même le surpassa, mais souvent il
fit mieux danser que chanter. Dans le ballet de Don Juan, ou Le Festin de
Pierre, il composa une musique admirable" (Ouvr. Mèl., II., p. 12).
Printed before Wollank's pianoforte score, and in Lobe's Flieg. Blàtt. f.
Mus., I., p. 122.]
117 (return)
[ A ballet, "II
Convitato di Pietra," was given in Naples in 1780 (Signorelli, Stor. Crit.
d. Teatri, X., 2, p. 172).]
118 (return)
[ This opera was also
performed in Braunschweig in 1782 (Cramer, Mag. f. Musik, I., p. 474).]
119 (return)
[ The book of the words
printed in Vienna has on the title-page "da rap-presentarsi ne' teatri
privilegiati di Vienna l' anno 1777.]
120 (return)
[ Castil-Blaze, I., p.
267.]
121 (return)
[ Goethe, Briefw m.
Zelter, II., p. 160.]
122 (return)
[ Musik. Monatschr., p.
122.]
123 (return)
[ Da Ponte, Mem., II.,
1, p. 28.]
124 (return)
[ The manuscript
(perhaps autograph) in the archives of the Society of Musicians in Vienna
bears the title, "ü Convitato di Pietra, Atto solo del Sgr. Giuseppe
Gazaniga. In S. Moisè, 1787." The greater part of the recitative, five
pieces in score, and four airs with voice part and bass, are preserved.]
125 (return)
[ Recensionen, 1860,
No. 38, p. 588.]
126 (return)
[ The fact of her
non-reappearance is proved by the same singer taking the part of
Maturina.]
127 (return)
[ Here, doubtless, was
inserted the quartet, "Non ti fidar o misera," composed by Cherubini for
the performance in Paris in 1792 (Scudo, Crit. et Litt. Mus., I., p. 181).
Not. de Manuscr. Autogr. de Cherubini, pp. 12, 101.]
128 (return)
[ For a performance at
Ferrara, Ferrara is substituted for Venezia.]
129 (return)
[ Atto solo is
on the title-page instead of secondo, which is struck out; on the second
scene is Atto secondo, and the finale is superscribed Finale
secondo. On the other hand, the scenes are continuously numbered from
1 to 24. I can only suppose that an earlier version has been abridged for
representation.]
130 (return)
[ A "Don Giovanni"
ascribed to Cimarosa is the result of a mistake; his opera, "ü Convito,"
composed in 1782, is an adaptation of Goldoni's "Festino," and has nothing
to do with Don Juan (Castil-Blaze, p. 267).]
131 (return)
[ When Sonnleithner had
succeeded in obtaining the books of the words printed for the first
performances in Prague and Vienna, he published a reprint of the first
with the alterations and omissions of the second, together with all the
scenic remarks written by Mozart on his score. "ü Dissoluto Punito, ossia
il Don Giovanni. Dramma giocoso. Poesia di Lorenzo da Ponte." Leipzig,
1865.]
132 (return)
[ I have,
unfortunately, been unable to obtain Zamora's drama.]
133 (return)
[ Eckermann, Gespräche
mit Goethe, I., p. 64.]
134 (return)
[ The scenic order, for
which the books of the words give important data, has been the subject of
much recent controversy. Cf. Recensionen, 1859, No. 25. A. von Wolzogen
über d. seen. Darstellung von Mozart's "Don Giovanni" (Breslau, 1860).
Bitter, Mozart's "Don Juan," p. 62. Sonnleithner, Recensionen, 1865, No.
48. Woerz, Wien. Ztg., 1866, No. 293, &c.]
135 (return)
[ Gazzaniga's "Eximena"
is wisely omitted.]
136 (return)
[ Zerlina owes to
Goldoni's "Elisa" a strong tinge of frivolity; and the credulity and
inexperience of the peasant maid are not without an alloy of sensuality.
She is, however, at the same time endowed with a natural charm that
enables Mozart to represent her with full consistency as a very lovable
creature.]
137 (return)
[ This shows the
progress made upon Gazzaniga's work. That which was a mere comic by-play
is here used as a motive for giving a common interest to the characters,
and leads to the recognition of Don Giovanni, and to the climax of the
finale.]
138 (return)
[ At Hamburg, members
of noble families required that minuets should be played alternately with
the country dances, "that they might not be obliged to mix with the crowd"
(Meyer, L. Schroder, I., p. 150).]
139 (return)
[ Gugler's idea
(Morgenbl., 1865, p. 775) that Don Giovanni feigns his alarm, as if saying
to his captors, "Your unexpected and unfounded accusations have altogether
upset me," has not convinced me.]
140 (return)
[ The air is given in
the Niederrhein. Mus. Ztg., II., p. 413. Mozart has changed the original
key (A major) and somewhat condensed the whole, to its decided advantage.]
141 (return)
[ How far superior to
the senseless toasts in Righini's and Gazzaniga's versions.]
142 (return)
[ O. Gumprecht,
Deutsch. Theater-Archiv, 1859, Nos. 2, 3.]
143 (return)
[ The earliest
translation is that by Bitter, mentioned by E. G. Neefe (1789). Don
Giovanni is called Herr von Schwänkereich; Leporello, Fickfack. It
circulated in manuscript, and was the foundation of most of the earlier
German versions, as well as of those by Schroder and Rochlitz (Leipzig,
1801), which cannot be adjudged free from the faults of their
predecessors. Kugler showed by his own attempt how difficult a task it was
(Argo, 1859, p. 353). A great advance has been made in the recent versions
of W. Viol ("Don Juan": Breslau, 1858); L. Bischoff, in Simrock's
pianoforte score (Cf. Niederrh. Mus. Ztg., 1858, p. 397; 1859, p. 88); A.
von Wolzogen (Deutsche Schaub., IX., 1860); C. H. Bitter (Mozart's "Don
Juan" u. Gluck's "Iphigenia in Tauris," Berlin, 1866). Lyser's
announcement of a translation by Mozart himself (N. Ztschr., XXI., p.
174), of which he quoted fragments, was unquestionably the result of a
mystification, in spite of Lyser's repeated declaration that he had copied
from the autograph original in the possession of Mozart's son (Wien. Mus.
Ztg., 1845, p. 322), where Al. Fuchs did not find it (Ibid., p. 343).]
144 (return)
[ G. Weber makes a
statement with regard to Mozart's autograph score (Cäcilia, XVIII., p. 91)
which places the question of the inserted pieces in a very clear light.
The treasure, which could find no place in any public collection of
Germany, came into the possession of Madame Pauline Viardot; a new account
of it is given by Viardot in the "Illustration" of the year 1855 (Deutsch.
N. Wien. Mus. Ztg., 1856, V., No. 9). He relates at the close that Rossini
called upon him saying: "Je vais m'agenouiller devant cette sainte
relique"; and after turing over the score exclaimed: "C'est le plus grand,
c'est le maître de tous; c'est le seul qui ait eu autant de science que de
génie et autant de génie que de science."]
145 (return)
[ The character and
meaning of this remarkable and much-discussed piece of music are so
distinctly marked that they cannot fail to be apprehended. CL Hoffmann's
suggestions (Fantasiestücke, I., 4, Ges. Schr., VII., p. 92), Ulibicheff
(Mozart, III., p. 105), Krüger (Beitrage, p. 160), and the elaborate
analysis by Lobe (A. M. Z.t XLIX., pp. 369, 385, 417, 441), where the
effort to trace everything back to a conscious intention has led to some
singular mis* apprehensions.]
146 (return)
[ In the overture to
"Cosi fan Tutte" also, Mozart has made a humorous use of a motif from the
opera; and in both cases has made it introductory to the principal subject
of the overture, which is an altogether independent composition. The
superficial device of making the whole overture an embodiment of different
subjects from the opera, a custom introduced by Weber, would not occur to
artists whose aim was to produce a consistent whole, working from within
outwards.]
147 (return)
[ In the printed score,
the B of the last bar is B flat; the original has this B flat only in the
last bar but one. The position of this chord with C sharp above B natural
is unusual, but not unprecedented. Mozart has left the chief melody
undisturbed to the first violins, the B flat of the second violins
corresponding to the C of the flutes. The repetition of the passage in the
second part of the overture is not written out.]
148 (return)
[ Marpurg, Von der
Fuge, II., p. 77. Kirnberger, Kunst des reinen satzes, II., 2, p. 18. It
will be found in the Kyrie of Stolzel's Missa Canonica.]
149 (return)
[ Nägeli, who finds
great fault with Mozart's "exaggerated and licentious contrasts"
(Vorlesungen, pp. 157, 160), asserts that the allegro of the overture
contains a bar too much, and that the rhythm is thereby destroyed; a
reproach which was thoroughly refuted by Kahlert (N. Ztschr. f. Mus.,
XIX., p. 97).]
150 (return)
[ Mozart has suggested
this train of ideas independently of Da Ponte. To the Commendatore's
reproach: "Cosi pretendi da me fuggir?" Don Giovanni answers in the act of
going, sotto voce, "Misero!" then to the renewed exclamation,
"Battiti!" he repeats, piu voce, "Misero!" and not until the
Commendatore has come close to him does he break out with "Misero
attendi!"]
151 (return)
[ The duel is simply
and appropriately rendered by the answering whizzing passages for
the violins and bass; very similar to Gluck's ballet, only more
elaborated.]
152 (return)
[ Gazzaniga has made a
tolerably long piece of it, not without expression, and the best in his
opera—but how far apart from Mozart!]
153 (return)
[ Schaul (Briefe üb. d.
Geschmack in der Musik, p. 51) cites this sestet as an instance of
Mozart's sins against sound sense, because it is written in tragic instead
of melodramatic style.]
154 (return)
[ The musical treatment
of the words of the Commendatore has been visibly influenced by Gluck's
"Alceste." A comparison of the two will show how skilfully Mozart
introduced more delicate touches of detail without injuring the imposing
effect of the whole.]
155 (return)
[ A force and
brilliancy are given to the wind instruments by means of the trombone such
as was never before dreamed of. Mozart's sheet with the wind instruments
is lost, but an old copy has the trombones. They are not used in the
overture, because he meant it to be merely suggestive, and wished neither
to lessen the impression of the actual apparition, nor to disturb the tone
character of the overture. Gugler seeks to prove that the trombones were
added later by Süssmayer (Leipzig, A. M. Z., 1867, No. 1-3), which I am
not prepared to allow.]
156 (return)
[ An instance is
Leporello's confidential whisper to Elvira (intensified in effect by the
interrupted cadence on B flat and the wonderful bassoon notes): "Sua
passion predominante è la giovin principiante]
157 (return)
[ The distinguishing
form of imitation appears to be always justified psychologically by its
appropriateness to the particular character; in the quartet, for instance,
Donna Anna and Don Ottavio have the imitation; in the first finale it is
given to Zerlina and Masetto.]
158 (return)
[ A. M. Z., II., p.
538.]
159 (return)
[ Beethoven declared he
could not write operas like "Figaro' and "Don Juan"; they were repulsive
to him (Rellstab, Aus meinem Leben, II., p. 240. Cf. Beethoven's Studien,
Anh., p. 22). The pure morality of the great man, both in his life and his
art, must be reverently acknowledged; at the same time, without allowing
art to stray beyond the bounds of morality, we would not willingly see it
excluded from the representation of this phase of human nature.]
160 (return)
[ There is no truth in
the remark in the Fliegende Blättem f. Musik (I., p. 184) that the song
shows Don Giovanni as he wished to appear, while the accompaniment
indicates what he really was. Don Giovanni expresses his real feelings,
and the song is not mere hypocrisy. The peculiar character of the
accompaniment is brought about simply by the nature of the instruments.]
161 (return)
[ This little duet and
chorus is written on different paper, like Masetto's air (Anh. 2). The two
were not inserted later, but written in Prague, during the rehearsals,
when the whole of this part seems to have been revised.]
162 (return)
[ In the autograph
score the second part has no new tempo marked; Mozart intended to denote
the climax by the change of beat; not by accelerated tempo. The chromatic
interlude, which Ulibicheff looks upon as a moral warning (Vol. II., p.
125), gives me the impression of sensual longing.]
163 (return)
[ The words which are
given to Don Giovanni after the recommencement of the minuet, "Meco tu dei
ballare, Zerlina vien pur qua," are not in the original score, nor in the
libretto; later on, when he leads her to the country dance, he says: "Il
tuo compagno io sono, Zerlina vien pur quà."]
164 (return)
[ Mozart rightly calls
the piece not terzetto, but aria, for Don Giovanni's and Leporello's
interruptions are only peculiarly constructed ritornellos, and do not
alter the very simple aria form of the piece.]
165 (return)
[ The assertion that
Mozart wrote above the air "Nello stile di Haendel" (Rochlitz, A. M. Z.,
I., p. 116) is unfounded.]
166 (return)
[ Ambros, "Grànzen der
Musik und Poesie," p. 61.]
167 (return)
[ In the Fliegenden
Blättern fur Musik (III., p. n.) it is pointed out that the beginning of
this melody is identical with the serenade, and this is adduced as an
instance of refined characterisation, meant to indicate Don Giovanni's
treachery to Elvira, whom he is addressing, while he is thinking of the
waiting-maid; there is no foundation for the idea, however.]
168 (return)
[ Gumprecht's remarks
on this are instructive (Klass. Sopran-album, p. 8).]
169 (return)
[ Gazzaniga places it
in recitative before the finale.]
170 (return)
[ It is an oft-repeated
mistake that this part was written by Mozart for Campi, who was born in
Lublin, 1773, and had been a main support to Guardasoni's company since
1791 (A. M. Z., II., p. 537).]
171 (return)
[ Marx, Berl. Mus.
Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p. 251. Genast says (Aus d.
Tageb. e. alten Schausp., III., p. 171) that Bethmann rendered Donna Anna
in this sense, and that upon his representation Schröder-Devrient copied
it. Cf. A. von Wolzogen, Wilh. Schroder-Devrient, p. 163.]
172 (return)
[ It is a great
improvement on Gazzaniga's libretto that Donna Anna does not disappear
after her first entrance, but takes the place in the plot of the
meaningless Eximena; but to invent new motives for her was beyond Da
Ponte's power.]
173 (return)
[ Ulibicheff (III., p.
113), Lobe (Flieg. Blätt. f. Mus., I., p. 221), Vincent (Leipz. Theat.
Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860, pp. 222, 231), have taken a
right view of Don Ottavio's character.]
174 (return)
[ Marx considers the
voice parts and the whole spirit of the aria powerful and grand, but the
instrumentation trivial (Kompositionslehre, IV., p. 529); he conjectures
that it may have been worked out by Sussmayer. This conjecture is
contradicted by the autograph score; and we may rather believe that Mozart
was actuated by consideration for Saporiti's voice, and refrained from
overpowering it by the instrumentation.]
175 (return)
[ Even at the beginning
of the finale there is no chorus of villagers. Don Giovanni enters with
several servants, who echo his greeting to the guests: "Su corraggio, o
buona gente!"]