1 (return)
[ Mus. Corresp., 1790, p.
30.]
2 (return)
[ Mus. Wochenbl., p. 15.
Cf. Lange, Selbstbiogr., p. 167.]
3 (return)
[ Muller, Abschied, p.
286.]
4 (return)
[ Da Ponte, Mem., I., 2, p.
114.]
5 (return)
[ Mosel, Salieri, p. 138.
Mus. Wochenbl., p. 62. Leopold's most severe remarks upon Salieri are
quoted by Da Ponte (Mem., II., p. 135): "So tutte le sue cabale e so
quelle della Cavalieri. É un egoista insopportabile, che non vorrebbe che
piacessero nel mio teatro che le sue opere e la sua bella; egli non è solo
nemico vostro, ma lo è di tutti i maestri di capella, di tutte le
cantanti."]
6 (return)
[ An official table was
published, showing that during the King's stay in the imperial dominions,
from September 3,1790, to March 18,1791, he followed the chase
thirty-seven times, and himself shot 4,110 head of game (Wien. Ztg., 1791,
No. 29).]
7 (return)
[ Wien. Ztg., 1790, No. 75,
Anh.]
8 (return)
[ Mus. Corresp., 1790, p.
145. Griesinger, Biogr. Not., p. 36.]
9 (return)
[ Mus. Corresp., 1790, p.
146. Mosel, Salieri, p. 138.]
10 (return)
[ Wahl-und
Krönungs-Diarium, 2 Anh., p. 5.]
11 (return)
[ In the Councillors and
Deputy-Councillor's Register for the imperial town of Frankfort on the
election and coronation of the Emperor Leopold II., is the following entry
(p. 400): "Mittwoch, 13 October, 1790. Als vorkame, dass der Kayseri.
Conzert-Meister Mozart um die Erlaubniss nachsuche Morgen Vor-mittag im
Stadtschauspielhaus ein Concert geben zu dörfen: sol le man ohne
Consequenz auf andere Falle hierunter willfahren." I am indebted for this,
as for other information, to my friend W. Speyer.]
12 (return)
[ Lewezow, Leben und
Kunst der Frau Schick, p. 14.]
13 (return)
[ Lipowsky, Baier. Mus.
Lex., p. 16.]
14 (return)
[ Breslau Ztg., 1855, No.
240, p. 1366.]
15 (return)
[ Nohl, Musik. Skizzenb.,
p. 190.]
16 (return)
[ Koffka, Iffland und
Dalberg, p. 185.]
17 (return)
[ So it is stated in the
Kurfürsl. gnädigst privil., Münchner Wochen-und Anzeigeblatt, 1790, No.
44.]
18 (return)
[ According to the
Kurfürstl. gnädigst privil. Münchner Ztg., 1790, Nos. 173-175, the arrival
of the King of Naples, on November 4, was celebrated by a court gala and
concert, and on the following day by a court hunt, and a theatrical
performance and supper.]
19 (return)
[ The story rests on the
authority of Tonerl herself, now Frau Haradauer of Graz (Wien. Fremdenbl.,
January 22, 1856).]
20 (return)
[ At this place he had a
performance of "Count Waltron" upon the ramparts, in a camp of 200 tents
(Wien. Ztg., 1782, No. 68).]
21 (return)
[ Berliner Litt. u.
Theat. Ztg., 1783, I., p. 94.]
22 (return)
[ Wien. Ztg., 1784, No.
102, Anh.]
23 (return)
[ Müller, Abschied, p.
273. Berl. Litt. und Theat. Ztg., 1785, I., p. 304.]
24 (return)
[ Mettenleiter,
Musikgesch. d. Stadt Regensburg, p. 265.]
25 (return)
[ Hormayr, Wien., VI., p.
75. Castelli, Memoiren, I., p. 46.]
26 (return)
[ Journal der Moden,
1790, p. 149. Theaterkal., 1789, p. 202. Cf. Varn-hagen, Denkw., VIII., p.
57.]
27 (return)
[ Seyfried gives this
description, which can scarcely be exaggerated, since it has an apologetic
tendency (N. Zeitschr. fur Mus., XII., p. 380). Schikaneder died in
poverty, and insane, 1812 (Südd. Mus. Ztg., 1860, p. 21).]
28 (return)
[ Treitschke gives many
particulars of the composition and first performance of the "Zauberflöte"
(Orpheus, Mus. Taschenb., 1841, p. 242) in the Illustr. Familienbuch des
österr. Lloyd (1852, II., p. xig), and in the Monatsschrift fur Theater
und Musik (September 1857, p. 444); valuable old traditions are paixed
with demonstrable falsehoods.]
29 (return)
[ Allg. Wiener Mus. Ztg.,
1841, p. 128.]
30 (return)
[ C. F. Becker, N.
Ztschr. fur Mus., XII., p. 112.]
31 (return)
[ Da Ponte, Mem., I., 2,
p. 124.]
32 (return)
[ The story of the
Requiem is familiar in all its details, and has been deprived of every
trace of mystery or uncertainty. Niemetschek's simple account (p. 40), and
Rochlitz's more highly coloured one (A. M. Z., I., pp. 149, 177), are both
founded on statements by Frau Mozart. Full light has been thrown on the
other side by the communications of the musicians J. Zawrzel (André,
Vorber. zu Mozarts Requiem, Cäcilia, VI., p. 212), Krüchten (Cäcilia, VI.,
p. 217), Herzog (Köchel, Recensionen, 1854, No. 48, p. 753), who were all
acquainted with Count Walsegg, and are trustworthy on the whole, although
they differ from each other in matters of detail. Some facts, which it was
thought unadvisable to publish, were vouched for to me in Vienna by A.
Schmid and Al. Fuchs.]
33 (return)
[ Niemetschek (p. 52) saw
a short note from the Unknown, in which Mozart is urged to send the
Requiem, and to name a sum for which he would undertake to supply annually
a certain number of quartets.]
34 (return)
[ The entry in the
Autograph Catalogue is as follows: "September 5 (performed in Prague,
September 6), La Clemenza di Tito, opera seria in due atti, per I'
incoronazione di sua Maestà l' imperatore Leopoldo II., ridotta a vera
opera dal Sgre Mazzoli, poeta di sua A. S. l' Elettore di Sassonia—24
pezzi." (In the printed score there are twenty-six pieces, not counting
the overture; but the obbligato recitatives are counted separately here,
and not in the original score.)]
35 (return)
[ Seyfried, Càcilia, IV.,
p. 295.]
36 (return)
[ Nothing is omitted but
the duettino (3) (which, however, is included in "A Revised Copy of
Mozart's Original," by Abbe Stadler) and the accompanied recitative (25).]
37 (return)
[ The first three scenes
were by P. Travaglia, in the service of Prince Ester-hazy, the fourth was
by Preising of Coblenz, and the costumes were by Chérubin Babbini of
Mantua.]
38 (return)
[ J. Debrois, Urkunde
uber die Krönung Sr. Maj. des Königs von Bohmen, Leopolds II., p. no.]
39 (return)
[ Musik. Wochenbl., pp.
70, 94.]
40 (return)
[ According to an
anecdote in the Bohemia (1856, No. 23, p. 122) there was in Prague an old
harpist named Hoffman, a familiar figure in every coffee-house. Mozart had
him up in his room when he was living at the "Neuwirthshaus" (now "Der
goldene Engel"), and played an air to him on the pianoforte, desiring him
to improvise variations upon it. This he did, to Mozart's satisfaction.
Ever after, this theme was the show-piece of the harpist, and he would
never play it except by special desire; then he would go off into
reminiscences of Mozart, and nothing would shake his firm persuasion that
the great man must be a native of Bohemia.]
41 (return)
[ It was composed, among
others, by Leon. Leo, 1735; by Hasse, 1737; by Jomelli; by Perez, 1749; by
Gluck, 1751; by Jos. Scarlatti, 1760; by Nau-mann, 1769.]
42 (return)
[ It would be ascribing
to Mozart a merit to which he has no claim to credit him with the
reconstruction of the libretto (A. M. Z., I., p. 151. Cäcilia, XX., p.
191).]
43 (return)
[ The numbers taken
unaltered from Metastasio are: 2,5, 6, 8, 9,11,16, 20, 21, 25, and the
obbligato recitatives, n, 17, 22, 24. Those for which new words were
written are the songs for Annius (13, 17), for Sextus (19), and for
Vitellia]
44 (return)
[ This scene is all
Mazzola's invention, but it does not form one of the longer ensemble
movements.]
45 (return)
[ Zelter, Briefw. m.
Goethe, III., p. 26.]
46 (return)
[ Curiously enough this
very motif has become a type for a long list of overtures and symphonies
by Mozart's immediate successors, and may even be recognised in
Beethoven's first symphony and Prometheus overture.]
47 (return)
[ The second air (8) is
apparently of later composition, for it is not included in the consecutive
numbering, and the score is written on the same paper as the march (3),
the obbligato recitative, and the overture, all composed after the
completion of the other pieces, which are written on one kind of paper.]
48 (return)
[ Seyfried, Càcilia, XX.,
p. 193.]
49 (return)
[ The second air (17),
with Mazzola's words, was inserted subsequently, and numbered 13 1/2.]
50 (return)
[ The ritomello is added
on a separate page by a copyist; so is the concluding ritornello. Probably
the air originally passed into an accompanied recitative for Titus, which
is not preserved.]
51 (return)
[ Schaul, Briefe üb. d.
Geschmack, p. 51.]
52 (return)
[ C. M. von Weber,
Lebensbild, III., p. 4.]
53 (return)
[ Gerber, N. Lex., II.,
p. 75. Cf. A. M. Z., IV., p. 318. Reichardt, Mus. Ztg., 1805, I., p. 112.
In a notice from Berlin of the year 1799 it is described as a caricature
(A. M. Z., I., p. 348).]
54 (return)
[ The fact that the
clarinet and basset-horn alone were employed as obbligato instruments, and
that with an evident supposition of great proficiency, would lead to the
inference that Stadler had come to Prague for the coronation.]
55 (return)
[ A striking organ point
in Gluck's composition gave rise to much debate; he employed it afterwards
in "Iphigenie en Tauride," in the last air of the second act (Schmid,
Gluck, pp. 48, 353).]
56 (return)
[ The alleged
reminiscence in the first finale in "Titus" of the great scene in
"Idomeneo" (24) (A. M. Z., I., pp. 54, 152) is not supported by a closer
examination.]
57 (return)
[ A. M. Z., IV., p. 822.]
58 (return)
[ Deutschland, I., p.
269; II., p. 363. Reichardt, to whom this article was ascribed (Mus. Ztg.,
1805, I., p. 6), declared that the criticism on Mozart's arrangement of
the "Messiah," which had been attributed to Reichardt, was no more by him
than many other reviews of Mozart's works for which he had been attacked
during many years past with great acrimony.]
59 (return)
[ A. M. Z., I., p. 154.]
60 (return)
[ Reichardt, Mus. Ztg.,
II., p. 123. Parke, Mus. Mem., II., p. 3. Pohl, Mozart u. Haydn in London,
p. 145.]
61 (return)
[ A. M. Z., XVIII., p.
463.]
62 (return)
[ A. M. Z., XIX., pp.
174, 190.]
1 (return)
[ Treitschke, Orpheus,
1841, p. 246. Monatsschr. f. Theat. u. Music, 1857, p. 445.]
2 (return)
[ Al. Fuchs, Wien. Mus.
Ztg., 1842, p. 57. A. M. Z., XLIV., p. 366.]
3 (return)
[ The three Genü were
played by Nanette Schikaneder, afterwards Madame Eikof (Südd. Mus. Ztg.,
1866, p. 191), Matth. Tuscher and Handlgruber, but Frz. Maurer appeared
instead of the second, the same who sang Sarastro four years afterwards.
The names in brackets rest on a communication from Treitschke (Orph., p.
246); apparently these parts were sometimes changed.]
4 (return)
[ Wien. Mus. Ztg., 1842, p.
58.]
5 (return)
[ Mus. Wochenbl., p. 79.
This must have been the fault of the performance; at least, in 1793,
"Mozart's admirable music was so mangled at Schikaneder's theatre, that
one would fain have run away." (Berlin, Mus. Ztg., 1793, p. 142).]
6 (return)
[ Treitschke (Orph., p.
248) remarks that, at the time he wrote, the "Zauberflöte" had been
performed for the hundred and thirty-fifth time.]
7 (return)
[ I have to thank my friend
Dr. L. von Sonnleithner for much information on these points.]
8 (return)
[ The new operas for
Schikaneder's theatre were: 1789, "Una Cosa rara," second part, music by
B. Schack; "Das unvermuthete Seefest," music by J. Schenck; 1790, "Das
Schlaraffenland," music by Schack and Gerl; "Das Singspiel ohne Titel,"
music by J. Schenck; "Die Wienerzeitung," music by Schack; 1791, "Oberon,"
music by Paul Wranitzky; "Der Erndtekranz," music by Joh. Schenck; "Die
Zauberflöte."]
9 (return)
[ Cf. Riehl, Mus.
Charakterköpfe, I., p. 244.]
10 (return)
[ Schroder saw this opera
during his tour in the spring of 1791, at Frankfort, Mannheim, and Vienna;
and it was given at Hamburg in October (Meyer, L. Schröder, II., pp. 64,
76, 85, 97). In Berlin it was put upon the stage in February, 1792, and
was severely criticised (Mus. Wochenbl., p. 157). It was sometimes
performed later, and older dilettanti preferred it to Weber's "Oberon" (A.
M. Z., XXXI., p. 643).]
11 (return)
[ The third volume of
this collection of tales appeared in 1789. The preface declares the author
of "Lulu" and the "Palmblatter" to be the same, and consequently (since it
cannot be Herder) Liebeskind.]
12 (return)
[ The tale was afterwards
turned into a Danish opera, "Lulu," by Güntel-berg, and composed by Kuhlau
(A. M. Z., XXX., p. 540).]
13 (return)
[ These three helpful
boys, with their aphorisms, are borrowed from another tale in the third
part of the Dschinnistan, "Die klugen Knaben."]
14 (return)
[ Devrient, Gesch. der
deutschen Schauspielkunst, III., p. 141.]
15 (return)
[ Riehl, Musik.
Charakterköpfe, I., p. 3.]
16 (return)
[ Castelli, Memoiren, I.,
p. 111.]
17 (return)
[ Goethe says of his
"Helena" (Gespr. m. Eckermann, I., p. 317): "Granted that the majority of
spectators care for nothing but what meets the eye, the initiated will not
fail to grasp the higher meaning, as is the case with the 'Zauberflöte'
and some other works."]
18 (return)
[ Lewis, Gesch. d.
Freimaur. in Oesterreich, p. 40.]
19 (return)
[ Pater Cantes is said to
have composed the songs to Schikaneder's operas from friendship
(Monatsschr. f. Theat. u. Mus., III., p. 444).]
20 (return)
[ Gieseke himself told
Cornet that he had the principal share in the words of the "Zauberflöte"
(Die Oper in Deutschl., p. 24. Illust. Familienbuch des öst. Lloyd, II.,
p. 19); and Neukomm confirmed his statement to me, having known Cornet as
an actor at the Theater auf der Wieden.]
21 (return)
[ The most important
features of the ceremonial, the tests of secrecy and silence, the
wandering through fire and water, &c., are to be found in Apuleius'
account of the initiation of Lucius into the mysteries of Isis (Met., IX.,
21). It is well known that the origin of Freemasonry has been found in the
Egyptian mysteries, and various symbols have thence made their way into
some of the lodges (Cf. Born in the Journal fur Freimaurer, 1784, I., 3.
Berlioz, Litt. u. Theater-Zeitg., 1783, p. 741).]
22 (return)
[ The Masonic tendencies
are visible in the frequent allusions to the opposition between light and
darkness, and in the subordinate position of the women, who are "not to
pry into mysteries which are incomprehensible to the female mind," and
which can only be solved under the guidance of wise men. Cf. a "treatise
on the uses of secrecy" read at a lodge held for women, setting forth why
the order was, and must remain, closed to them (Teutsch. Mercur, 1786,
III., p. 59).]
23 (return)
[ Eckerxnann, Gespräche
mit Goethe, III., p. 17.]
24 (return)
[ Goethe made the
following announcement on the subject to Wranitzky (January 24, 1796):
"The favour with which the 'Zauberflöte' has been received, and the
difficulty of writing a piece which could compete with it, have suggested
to me the idea of finding in itself the subject of a new work, so as to
meet the preference of the public half way, as it were, and to simplify
the performance of a new and complicated piece both to the actors and the
theatrical management. I believe I shall best attain this object by
writing a second part to the 'Zauberflöte' the characters are all
familiar, both to the public and to the actors, and it will be possible,
having the earlier piece before one, to heighten the climax of the
situations and events without exaggerating them, and to give life and
interest to the whole piece." He writes to Wranitzky, further, that it
will please him to be associated with so talented a man, and that he has
endeavoured to "open a wide field to the composer, and to touch upon every
department of poetry, from the most elevated emotions to the lightest
pleasantry" (Orpheus, 1841, p. 252. Cf. Briefw. zw. Schiller u. Goethe,
468. Briefw. m. Zelter, I., p. 16; II., pp. 93, 166).]
25 (return)
[ Herder lays stress on
the predominating idea of the struggle between light and darkness as a
main reason for the great success of the "Zauberflöte" (Adrastea, II., p.
284).]
26 (return)
[ Reichardt writes to
Tieck (March 17, 1812): "Thus numberless mongrel and prodigious creations
have taken form, round which music has been developed and almost
perfected. Mozart's highest performances owe their existence to
Schikaneder and Co. Without the 'Zauberflöte' and 'Don Juan,' one side of
Mozart's genius would have remained unknown to us" (Briefe an L. Tieck,
III., p. no).]
27 (return)
[ An interpretation from
the Masonic point of view is given by L. v. Batzko (Journ. d. Lux. u. d.
Mod., 1794, p. 364). A ludicrous allusion to the Revolution was imputed to
the "Zauberflöte" by a pamphlet, Geheime Gesch. d. Verschworungssy stems
d. Jacobiner in d. österr. Staaten, 1795.]
28 (return)
[ André has published the
score of the overture, so that the alterations and additions can be
recognised as such. The autograph of the opera is complete (N. Ztschr. fur
Mus., XLV., p. 41).]
29 (return)
[ Cäcilia, XX., p. 132.]
30 (return)
[ Cf. Marx, Lehre v. d.
mus. Kompos., IV., p. 181.]
31 (return)
[ Allg. Wiener Mus. Ztg.,
1842, p. 521. Niederrh. Mus. Ztg., 1856, pp. 68,89. N. Ztschr. f. Mus.,
XLV., p. 41.]
32 (return)
[ Ulibicheff, who has
devoted careful study to this overture, continually, and with justice,
recurs to the idea of light and brilliancy, which is irresistibly brought
home to the hearer, as Mozart no doubt fully intended.]
33 (return)
[ Koch, Journal der
Tonkunst (1795, I., p. 103).]
34 (return)
[ The use made of the old
choral melody was first remarked by Rochlitz, but he calls the chorale,
"Aus tiefer Noth schrei ich zu dir" (A. M. Z., I., p. 148), while Gerber
(N. Lex., III., p. 496) calls it, "Christ unser Herr zum Jordan kam," and
Zelter (Briefw., III., p. 415; IV., p. 354), "Wenn wir in hochsten Nöthen"—variations
which are capable of explanation, and sometimes of justification (Càcilia,
VIII., p. 134. A. M. Z., XLVIII., p. 481).]
35 (return)
[ The antiquated melody
treated by Mozart is the song, "Ach Gott vom Himmel sieh darein," in use
from 1524 (Winterfeld, Evang. Kirchengesang, I., Beil. 14; II., p. 7.
Tucher, Schatz des evang. Kirchengesanges Mel., 236).]
36 (return)
[ Kirnberger, Kunst d.
reinen Satzes, I., p. 237.]
37 (return)
[ Kirnberger, I., p. 243.
Cf. Stadler, Nachr., p. 12.]
38 (return)
[ Wien. Mus. Ztg., 1842,
p. 58.]
39 (return)
[ Two choral melodies, "O
Gottes Lamm," and "Als aus Egypten," with partially figured bass, are
written by Mozart upon one sheet (343 K.), perhaps with a similar object.]
40 (return)
[ Cf. Marx, Lehre v. d.
mus. Kompos., II., pp. 536, 568.]
41 (return)
[ Whether any special
Masonic wisdom lurks in the choice of this song I cannot say; it is worthy
of remark that even in the Masonic funeral music a figured Cantus firmus
is made use of (Vol. II., p. 411).]
42 (return)
[ The resemblance traced
by C. F. Becker (Hausmusik, p. 37) to a passage from Joh. Kuhnau's "Frisch
e Clavierfrüchte".(1696) has been proved illusory by Faiszt (Cäcilia,
XXV., p. 150).]
43 (return)
[ This curious
combination recalls to mind the piece for trumpets and flutes which Mozart
formerly wrote in Salzburg (Vol. I., p. 308).]
44 (return)
[ It is not without
purpose that they are made to accompany Tamino's words, "Der Lieb' und
Tugend Heiligthum" in the recitative of the first finale where Mozart
first selected flutes, but then changed to clarinets, which only recur in
this place.]
45 (return)
[ This is pointed out in
an article on the characteristics of different keys (A. M. ZM XXVII., p.
228).]
46 (return)
[ The last words which
Mozart wrote to his wife at Baden contained an allusion to this terzet:
"Die Stunde schlägt—leb wohl—wir sehen uns wieder."]
47 (return)
[ Mozart, as an
ear-witness noted (A. M. Z., XVII., p. 571), accented the first quaver of
this figure, and took the tempo of the terzet almost as quick as it has
since been played, following the direction andante moderato. In
Mozart, as in other older composers, andante ("going") by no means
exclusively implies a slow tempo.]
48 (return)
[ Siebigke gives an
elaborate analysis of this terzet (Mozart, p. 38).]
49 (return)
[ Meyer, L. Schroder,
II.; I., p. 85.]
50 (return)
[ Lipowsky, Baier.
Musik-Lex., p. 297. A. M. Z., XXIX., p. 519. Meyer, L. Schroder, II.; I.,
p. 85.]
51 (return)
[ Anna Gottlieb, born in
Vienna, 1774, sang Barberina in "Figaro" in 1786, and was then engaged by
Schikaneder; in 1792 she went as prima donna to the Leopoldstadt Theater.
She took part in the Mozart Festival at Salzburg in 1842, and in the
Jubilee of 1856, and died there soon afterwards.]
52 (return)
[ G. Weber's remark (A.
M. Z., XVII., p. 247) that the tempo of this air is generally taken too
slow, is confirmed by the contemporary of Mozart already mentioned, with a
reference to his own directions (Ibid., p. 571). Here again the direction
andante was misleading.]
53 (return)
[ It is interesting to
note how the rhythmic movement of the beginning—[See Page Image]
gives the impulse to the whole of the music.]
54 (return)
[ Cäcilia, XX., p. 133.]
55 (return)
[ The original words
were: "Dem grimmigen Löwen zum Opfer erkoren—schon nahet er sich."
Mozart substituted the poisonous serpent later. In the Fliegende Blatter
fur Mus. (I., p. 441), the description of this serpent is compared with
that in Weber's "Euryanthe."]
56 (return)
[ The autograph score
shows traces of abbreviation, the complete cadenza having been made known
by Al. Fuchs from an old copy (Allg. Wien. Mus. Ztg., 1841, p. 244).]
57 (return)
[ The parts of the three
boys are treated in similar fashion, only that the working-out is
appropriately much simpler.]
58 (return)
[ Marx,
Kompositionslehre, IV., p. 541.]
59 (return)
[ In the Parisian
travesty of the "Zauberflöte" the virtuous shepherd Bochoris sings this
song to induce the guard to liberate Pamina, and by this means gradually
works up the twelve Moorish slaves and the guard into such a state of
comic and exhilarated emotion that they form round him during his song,
and execute an exceedingly characteristic pantomimic dance, expressive of
curiosity and delight. Then the chorus of the guard falls in, interspersed
with Lais' lovely singing, which continues until the chorus sink at his
feet in delight. "It is impossible," adds Reichardt, in describing this
scene (Vertraute Briefe aus Paris, I., p. 438), "to imagine anything more
piquant or perfect. It made such an impression that it had to be repeated,
a thing which had never happened there before" (A. M. Z., IV., p. 72). The
rearrangement of the music necessitated is described in A. M. Z., IV.,
Beil. I.]
60 (return)
[ At a performance of the
"Zauberflöte" at Godesberg, in June, 1793, a steel keyed instrument was
substituted for the bells with good effect (Berl. Mus. Ztg., 1793, p.
151).]
61 (return)
[ Castelli (111.
Familienbuch, 1852, p. 119), quoting from the bass-player Seb. Mayer.]
62 (return)
[ "Herr Schikaneder has
made it his habit to dabble in all the operas composed for him, altering
the keys and sometimes striking out the best-passages and substituting bad
ones. Even Mozart had to submit to his criticism in the composition of the
'Zauberflöte,' and underwent not a little annoyance in consequence. For
instance, the duet 'Bei Männern' had to be composed five times before it
pleased him" (A. M. Z., I., p. 448.)]
63 (return)
[ Berl. Mus. Ztg., 1793,
p. 148.]
64 (return)
[ N. Ztschr. fur Mus.,
XLV., p. 43.]
65 (return)
[ Allg. Wien. Mus. Ztg.,
1842, p. 58.]
66 (return)
[ A duet composed by
Mozart (625 K.) for Schikaneder's "Stein der Weisen," performed in 1792,
is not known.]
67 (return)
[ Cf. Hotho, Vorstudien,
p. 79.]
68 (return)
[ Strauss, Lessing's
Nathan d. Weise, p. 77.]
69 (return)
[ Beethoven, according to
Seyfried (Beethoven's Studien, Anhang, p. 21), declared the "Zauberflöte"
to be Mozart's greatest work, for in it he first shows himself as a German
composer. Schindler adds (Biogr., II., pp. 164, 322) that he thought so
highly of it because it contained every species of song, even to the
chorale and the fugue. If we reflect that this praise from Beethoven can
only refer to the intellectual power which succeeded in combining the most
varied forms into an artistic whole, born of one conception, we shall be
convinced how deep was his appreciation of that power.]
70 (return)
[ Berl. Mus. Ztg., 1793,
p. 142.]
71 (return)
[ A. M. Z., I., pp. 73,
447.]
72 (return)
[ A. M. Z., II., p. 811.]
73 (return)
[ A. M. ZM V., pp. 778,
794. Zelter, Briefw., I., p. 74.]
74 (return)
[ A. M. Z., III., p. 484.
Ztg. fur d. Eleg. Welt, 1801, No. 40, p. 315.]
75 (return)
[ Mozart und Schikaneder,
ein theatralisches Gespräch uber die Auffuhrung der Zauberflöte im
Stadttheater, in Knittelversen von * *. Wien, 1801 (Ztg. fur d. Eleg.
Welt, 1801, No. 41, p. 326). Mozart's Traum nach Anhörung seiner Oper die
Zauberflöte im Stadttheater, Jupitern und Schikanedem erzahlt im Olymp in
Knittelversen von F. H. von TZ. Wien, 1801.]
76 (return)
[ Treitschke, Orpheus, p.
248. A. M. Z., III., p. 484.]
77 (return)
[ Jupiter, Mozart und
Schikaneder nach der ersten Vorstellung der Zauberflöte im neun Theater an
der Wien (Wien, 1802).]
78 (return)
[ A. M. Z., XII., p.
1057.]
79 (return)
[ A. M. Z., XIV., p. 558.
Treitschke, Orpheus, p. 249.]
80 (return)
[ Reichardt, Vertr.
Briefe aus Paris, I., p. 163.]
81 (return)
[ Schneider, Gesch. d.
Oper, p. 63.]
82 (return)
[ A. M. Z., XLVI., p.
443. Rellstab, Ges. Schr., XX., p. 379.]
83 (return)
[ Meyer, L. Schroder,
II., i, p. 115.]
84 (return)
[ A. M. Z., VII., p.
208.]
85 (return)
[ A. M. Z., I., p. 341.]
86 (return)
[ Treitschke, Orpheus, p.
250.]
87 (return)
[ A. M. Z., XX., p. 839.
Cäcilia, VIII., p. 170.]
88 (return)
[ A. M. ZM XIV., p. 239.]
89 (return)
[ A. M. Z., XIV., pp.
593, 804, 864.]
90 (return)
[ A. M. Z., XXXI., p.
820.]
91 (return)
[ A. M. Z., XIV., p.
327.]
92 (return)
[ An attempt at Milan, in
1886, had a doubtful success (A. M. Z., XVIII., pp. 346, 485), and a
second in Florence, 1818, was a decided failure (A. M. Z., XXI., p. 42).]
93 (return)
[ Pohl, Mozart u. Haydn
in London, p. 147.]
94 (return)
[ Hogarth, Mem. of the
Opera, II., p. 193.]
95 (return)
[ A. M. Z., XLII., p.
736; XLIV., p. 610.]
96 (return)
[ A. M. Z., III., p.
335.]
97 (return)
[ A closer analysis by a
German musician is to be found in A. M. Z., IV., p. 69.]
98 (return)
[ A. M. Z., IV., p. 47.]
99 (return)
[ Reichardt, Vertr.
Briefe aus Paris, I., pp. 162, 457. Solger, Nachgel.Schr., I., p. 69.
Engel, Journal de Paris, 1801, No. 346. Schlegel, Europa, II., I., p.
178.]
100 (return)
[ Cramer, Anecd. sur
Mozart, p. 18. Cf. Ztg. f. d. eleg. Welt, 1801, No. 101.]
101 (return)
[ Castil-Blaze, L'Acad.
Imp. de Mus., II., p. 86.]
102 (return)
[ A. M. Z., XX., p.
858; XXXIII., pp. 82, 142. In the year 1829, the German performance of the
"Zauberflöte" was very successful in Paris. (A. M. Z., XXXI., p. 466.)]
103 (return)
[ Niederrhein. Mus.
Ztg., 1865, p. 68. Berl. Mus. Ztg., Echo, 1865, p. 73. Henry Blaze de
Bury, Revue des Deux Mondes, 1865, LVI., p. 412.]