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, and crescendo from the second part; at the
repetition the chorus joins in forte.]
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 that lietissimo is 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 written ridono
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 followed Segue 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.]