1 (return) [ Winterfeld, Gabrieli, II., p. 146. Kiesewetter, Schicks. d. weltl. Ges., p. 58.]
2 (return) [ P. J. Bacci, vita di S. Filippo Neri (Rom., 1646), I., 19,4 p. 81: Che si cantasse ordino qualche laude spirituale per sollevamento degli animi degli ascoltanti.]
3 (return) [ Bacci, II., 7,11: Nel tempo del camevale per levar loro 1' occasione di andar al corso o aile commedie lascive era solito far fare delle rappresentationi.]
4 (return) [ Menestrier (Des ReprÈs. en Musique, p. 191)—followed by Bonnet, Hist.de Musique, p. 373, or Bourdelot, Hist, de Mus. I., p. 295—ascribes the introduction of "musique dramatique" to Filippo Neri: "faisant composer par les plus habiles maÎtres de musique des rÉcits et des dialogues sur les principaux sujets de l'Écriture sainte, il faisoit chanter par les plus belles voix de Rome ces rÉcits dans son Église," and brings forward as examples "Jesus and the Samaritan Woman," "Job and his Friends," "The Annunciation," &c. But he seems to have forestalled later performances.]
5 (return) [ Burney,Gen. Hist, of Mus., IV., p. 96. Kiesewetter, Schicks d. weltl. Ges., p. 44.]
6 (return) [ Schelle thought that the vastness of the oratorium of the Chiesa Nuova was unsuited for such performances (N. Zeitschr. f. Mus., LX., p. 79); but there is decided testimony against this view.]
7 (return) [ P. delle Valle, in a letter written 1640. Doni, Opp., II.]
8 (return) [ The celebrated male soprano, Vittorio Loreto, who entered the Papal Kapelle in 1620 (Lindner zur Tonkunst, p. 43), enchanted the public with a Magdalene's song, probably by Dom. Mazocchi (Kircher, Musurg., VII., 9 t. I., p. 674), which he executed in sacello patrun congregations oratorÜ (ErythrÄus, pinac. II., 68).]
9 (return) [ According to Quadrio (Stor. di ogni poes., V., p. 425) the term oratorio was first used by Franc. Balducci (d. 1642); in Allacci's Dramaturgia (Ven., 1755) it often occurs after 1659; historians of literature, such as Muratori (d. Perfetta Poesia, III., 5) or Apostolo Zeno (Fontanini, Bibl. d. Eloq. Ital., I., p.489) use it as the customary one.]
10 (return) [ The treatises of Fink (in Ersch and Gruber's EncyclopÉdie, III., 4 p. 405) and Keferstein (A. M. Z., XLV.,p. 873) are very unsatisfactory,]
11 (return) [ During Lent oratorios were performed in the theatres even at a later date. Goethe (Werke, XIX., p. 182) saw "The Destruction of Jerusalem by Nebuchadnezzar" in Naples. Cf. Dittersdorfs Lebensbeschreibung, p. 144. Teutsch. Mercur, 1789, III., p. 218.]
12 (return) [ Hiller, WÖchentl. Nachr., I., p. 47. Burney, Reise, I., p. 276. At Vienna oratorios were regularly performed in the Imperial Chapel, and afterwards in the theatre, for charitable objects.]
13 (return) [ It was first brought out at Vienna in 1734, with music by Reutter; afterwards composed by Flor. Gassmann (Dittersdorfs Selbstbiogr., p. 203), and partially adapted by Salieri in 1821 (Wiener mus. Ztg., V., p. 294). It was also composed by Jomelli, Cafaro, Bernasconi in Munich, 1754, Sales in Coblenz, 1783, Schuster and Naumann in Dresden (Reichardt, Berl. mus. Ztg., I., p. 171), and by Mussini in Berlin (Ibid., II., p. 39), &c.]
14 (return) [ Scheibe, Krit. Musi eus, 22, p. 216.]
15 (return) [ AndrÉ informs me that, according to a book of words with which I am unacquainted, this oratorio was performed in Lent of 1786 (not at Vienna, as Sonnleithner inferred), and Mozart appears to have composed another introductory chorus, "Qual fiero caso," and a quintet, "Te solo adoro," which AndrÉ conjectures to be in Berlin; they have not been found, however (Nohl, Musiker-briefe, pp. 335, 337)]
16 (return) [ Mattheson, Critica Musica, I., p. no: "Dass die tiefen SingbÄsse einer Harmonie viele MajestÄt, viele Harmonie und force geben, ist unstreitig; ob aber allemahl etwas agrÉable, und nicht vielmehr sehr oft was rude und entsetzliches dabei vermacht sey, will dem ZuhÖrer Ùberlaasen."]
17 (return) [ Hiller, WÖchentl. Nachr., I., pp. 326, 343, 353.]
