1 (return)
[ The minuet movement in symphonies was not liked in Salzburg. The minuet of the Symphony in B flat major was written later (to judge by the handwriting) for a performance in Vienna, and appended on a separate leaf. Mozart began a minuet to the C major symphony, but only finished the first part, and crossed it out in the score. The effort not to make the symphony too long is evident throughout, and especially in the non-repetition of the first movement, although it is completely detached.]

2 (return)
[ The first movement (Adagio, Allegro con spirito), the Andantino and the Finale are (not quite correctly) printed as an independent symphony. (Breit-kopf and HÄrtel, 7.)]

3 (return)
[ AndrÉ possessed a careful copy of these two pieces, inscribed by Mozart "Sinfonia Concertante," as if for their special performance at a concert in Vienna, March 20,1783.]

4 (return)
[ The customary attempt to give a peculiar charm to the trio of the minuet by means of unusual instrumentation is here apparent in the solos for the flute in the first trio and for the horn in the second. In Mozart's autograph score the flute part is left blank: was the player to improvise?]

5 (return)
[ I do not know AndrÉ's authority for his assertion that it was composed in 1780, but it appears to me to be justified. Mozart sends from Vienna (June 27, 1781) for "The Sonata Ä quatre mains in B, and the two Concertos for two claviers," and he writes later on that he had played the Concerto Ä duo with Frl. Auemhammer at a concert (November 24, 1781). Two clarinets were added to the original accompaniment, on a flyleaf, for this performance. The second concerto which is mentioned is no doubt that originally written for three claviers, and afterwards for two (p. 331).]

6 (return)
[ The Credo as far as the "Et in spiritum" was afterwards laid aside; it was in 3-4, with the doubtful superscription, "Tempo di ciacconna."]

7 (return)
[ The Dixit and Magnificat of the first vesper is in C major, Confitebor in E minor, Beatus vir in B flat major, Laudate pueri in F major, Laudate Dominum in A flat major. The Dixit and Magnificat of the second vesper are also in C major, Confitebor in E flat major, Beatus vir in G major, Laudate pueri in D minor, Laudate Dominum in F major.]

8 (return)
[ The accompaniment consists, besides the organ (which is only once obbligato), of two violins and bass, trumpets and drums (these last only in the Dixit and Magnificat), and trombones in unison with the choir. The tenors invariably go with the bass; but, a rare occurrence, the violoncello is frequently distinct from the double-bass. Once a very simple solo for the bassoon, ad libitum, occurs.]

9 (return)
[ The simple but sometimes independent accompaniment, especially of the violins, is very beautiful, and heightens the effect, as it does in the Mass.]

10 (return)
[ In the second vesper a long triplet passage is given to the solo soprano at the words "Cornu eius exaltabitur," but nothing further comes of it.]

11 (return)
[ Printed as an offertory, "Amavit eus Dominus" (Vienna: Diabelli).]

12 (return)
[ Printed as an offertory, "Sancti et justi" (Vienna: Diabelli).]

13 (return)
[ Wolfgang had promised to compose an aria for him, but had not done so when he was summoned to Munich for "Idomeneo", reproached by his father, he found time in the full swing of his work at "Idomeneo" to write this aria and send it to Salzburg (November 22,1780).]

14 (return)
[ The Wien. Ztg. (1786, No. 31) contains an obituary notice. Cf. Gervinus, Gesch. d. Poet. Nat. Litt., IV., p. 590.]

15 (return)
[ Published in Vienna, 1774, Frankfort, 1775, and in Freih. von Gebler's Theatralischen Werken (Prague and Dresden 1772), III., p. 305.]

16 (return)
[ Confirmed by an expression of Mozart to his father, written from Vienna (February 15, 1783): "I am really sorry that I cannot make use of the music to "Thamos." The piece, having failed here, is destined to be never again performed. If it were, it would be solely on account of the music, and that is scarcely likely. It is certainly a pity!" Mozart gave his music, in 1786, to the needy theatrical manager Bulla, who made a good profit by it (Nissen, p. 685); "KÖnig Thamos" was given the same year in Berlin (Teichmann's Litt. Nachl., p. 40). The whole composition was successfully performed at Frankfort in the winter of 1865, with a connecting poem by Gisb. von Vincke.]

17 (return)
[ Cf. Schmid, Nekrolog, 1., p. 363.]

18 (return)
[ Lessing, Hamb. Dramat. St., 26 (Werke, VI., p. 115).]

19 (return)
[ Betracht. d. Mannh. Tonsch., I., p. 313; III., p. 253.]

20 (return)
[ "Haydn's entr'actes (to 'Zaire') are really fine," writes L. Mozart (October 6, 1777). "One of them was an arioso with variations for violon-celli, flutes, oboe, &c., and next after a piano variation came one with Turkish music so suddenly and unexpectedly that all the women started, and there was a general titter. Between the fourth and fifth acts was a cantabile with recitatives for the English horn, and then the arioso again, which accorded very well with the sadness of the preceding scene and with the following act."]

21 (return)
[ It might be supposed that the overture before mentioned (Vol. II., p. 86) was intended for this play, and the date of the composition agrees with this supposition. But the paper differs from that of the other instrumental movements, and Mozart was exact and careful in these matters. Something also of the solemn dignity characteristic of the choruses might be looked for in an overture to "KÖnig Thamos"; in other respects it is not unsuitable.]

22 (return)
[ The usual Salzburg orchestra is kept in view for these movements: strings, oboes, bassoons, and horns; and for the three entr'actes (I., IV., V.), trumpets and drums.]

23 (return)
[ Wieland enthusiastically praises the completed drama (Auswahl, Denkw., Briefe, II., pp. 14, 26). Soon afterwards (p. 27) he wished the conclusion altered, and complained that the virtuous people were unreal, and the wicked ones veritable demons. Ramier, Sulzer, ThÜmmel, also spoke highly in praise of "KÖnig Thamos" (Schlegel, Deutsch. Mus., IV., pp. 139, 153, 159). It was at once translated into French (Wieland, Auswahl. Denkw. Briefe, II., p. 30), and into Italian in 1780, by J. S. von Berghoff, secretary to Prince Colloredo. A handsomely bound copy of this translation is preserved with Mozart's score; it was probably sent to the Archbishop, and Mozart may have thought of adapting his choruses to the Italian version.]

24 (return)
[ Schweitzer professed to discern in the composer to the choruses which Gebler sent to Ramier and Wieland a beginner of great promise. That this talented beginner was not Mozart (although he was in Vienna in the summer of 1773) no one who casts a glance over the choruses will for a moment doubt. "Two choruses to the play of 'Thamos' by Mozart, scored for the piano by C. Zulehner," were published by Simrock, in Bonn, and are certainly not genuine. The fact that Mozart was known to have written an anonymous composition for the stage no doubt caused this one to be attributed to him.]

25 (return)
[ Gebler was Grand Master of the district lodge, "zum neuen Bund," in 1784 (Lewis, Gesch. d. Freimaurerei in Oesterreich, p. 162).]

26 (return)
[ This concluding chorus is wanting in Gebler's works, and in the Italian translation thus proving its Salzburg origin.]

27 (return)
[ As early as 1799 the following inquiry was made in the Intelligenz-Blatt of the A. M. Z., II., p. 21: "Among Mozart's posthumous works has been found a German vaudeville, written apparently in 1778 or 1779; it is without a title, and contains the following characters: Gomaz, Zaide, Sultan, Zaram, Soliman, Osmin, &c. Any person acquainted with the title of this work, or with the fact of its having been printed, is requested to communicate with the editor of this paper." The inquiry appears to have remained unanswered.]

28 (return)
[ "Zaide," Oper in zwei Acten von W. A. Mozart. Score (and pianoforte arrangement). Offenbach: Joh. AndrÉ. AndrÉ has added an overture and a closing chorus for the purpose of performance, to which there can be no objection. Mozart's composition is given intact, but the text has been altered by C. Gollmick. Schachtner's libretto is truly insufferable, but it is indispensable to the critical examination of Mozart's music.]

29 (return)
[ Schachtner has evidently imitated a French original, but I have not been able to discover it. I have failed to procure an opera entitled "Zaide," in three acts, by La Mare, composed by Royer (1739).]

30 (return)
[ The resemblance of some situations to the "Entfuhrung" is as striking as the difference of the two works on the whole. An Osmin appears as a secondary character, and sings a comic aria in the second act, which seems to have no immediate connection with the action. The disclosure of the flight was made in the original by Zaram, not by Osmin.]

31 (return)
[ This part did not satisfy Mozart, and he composed it again.]

32 (return)
[ Castil-Blaze, MoliÈre Musicien, II., p. 423.]

33 (return)
[ La Harpe, Corr. Litt., I., p. 280.]

34 (return)
[ Brandes Lebensgesch., II., pp. 140, 157.]

35 (return)
[ Brande's Lebensgesch;, II., pp. 173, 184. Reichardt says (Kunstmag., I., p. 86; Mus. Alman., 1796, G. Benda) that Benda was the first to propose it; but this seems incorrect.]

36 (return)
[ Brande's Lebensgesch., II., p. 193. Teutsch. Mercur, 1775, III., p. 276.]

37 (return)
[ Brande's "Ariadne" was successfully performed in Paris in 1781 (Grimm, Corr. Litt., X., p. 450).]

38 (return)
[ Eberhard, Neue Verm. Schr. (Halle, 1788), p. 1. N. Bibl. d. SchÖn Wiss., XXXVII., p. 177. Forkel, Krit. Bibl., III., p. 250. Tagebuch d. Mannheim, Schaub., I., p. 327. Nachtr. zu Sulzer's Theorie., Ill, p. 318. Herder was of opinion that music and declamation met at evety point; they could not unite (BÖttiger, Litt. Zust., I., p. 126).]

39 (return)
[ Reichardt, Kunstmag., I., p. 86. Rintel, Zelter, p. 100. Cf. Huber, Tamira, p. 79.]

40 (return)
[ A list of melodramas is given by Schletterer, Das Deutsche Singspiel, p.225.]

41 (return)
[ Reichardt, Geist des Musik. Kunstmag., p. 102. Knigge, Ephemer. f. Theat. u. Litt. (1785, II., p. 100).]

42 (return)
[ It is particularly to be regretted that the original words for these melodramatic scenes have not been printed. The alterations in Soliman's monologue are not so essential, but Gomaz's monologue is entirely transformed. In the original text he was absorbed by his unpleasant position; when he prays for refreshing slumber, and the music represents his repeated starting up from rest, the altered version puts love-ravings for Zaide into his mouth.]

43 (return)
[ It will suffice to remind the reader of the fine melodrama in "Fidelio."]

44 (return)
[ "Zaide" was performed in Frankfort on January 27, 1866, and though naturally not a stage success, it was a most welcome instruction to those who brought historical interest to bear upon it.]