1 (return)
[ Gottsched, Nothiger Vorrath, p. 314.]

2 (return)
[ Schletterer, Das Deutsche Singspiel, p. 110.]

3 (return)
[ Chronologie des Deutschen Theaters, p. 109. PlÜmicke, Entwurf e. Theatergesch. von Berlin, p. 193.]

4 (return)
[ Furstenau, Zur Gesch. der Musik zu Dresden, II., p. 246.]

5 (return)
[ Chronol., p. 159; CÄcilia, VIII., p. 277.]

6 (return)
[ Weisse, Selbstbiogr., pp. 25, 41; BlÜmner, Gesch. d. Theat. in Leipzig, p. 98.]

7 (return)
[ BlÜmner, ibid. Danzel, Gottsched, p. 172.]

8 (return)
[ Chronol., p. 202]

9 (return)
[ Chronol., p. 247.]

10 (return)
[ Blumner, Gesch. d. Theat. in Leipzig, p. 159. Hiller, Wochentl. Nachr., I., p. 219; II., pp. 135, 150. N. Bibl. d. SchÖn. Wiss., 1767, IV., p. 178. [Reichardt] Briefe e. Aufm. Reia., II., p. 23. Meyer, L. Schroder, I., p. 131. Goethe, Werke, XVII., p. 295.]

11 (return)
[ Hiller, WÖch. Nachr., I., p. 253; III., p. 59.]

12 (return)
[ Weisse, Selbstbiogr., p. 102.]

13 (return)
[ Hiller, Lebensbeschr. beruhmter Musikgelehrten, p. 311.]

14 (return)
[ Cf. Deutsch. Museum, 1779, II., p.268. PlÜmicke, Entwurf e. Theatergesch. von Berlin, p. 205. The contrary is reported of Cassel as a rare exception (Berl. Litt. u. Theat.-Ztg., 1783, II., p. 409).]

15 (return)
[ L. Schneider, Gesch. d. Oper in Berlin, p. 209.]

16 (return)
[ The constitution of the operatic repertory of the time is shown in the review of the operettas performed in Berlin from 1771-1787 by Schneider (Ibid., p. 206.).]

17 (return)
[ Reichardt, Ueb. d. Com. Oper., p. 20.]

18 (return)
[ "Operettas are the favourite pieces in Berlin, and cost a great deal of money," wrote Ramier to Knebel, in 1772 (Litt Nachl., II., p. 36). He paid the actors of the first parts one louis-d'or, of the second one ducat, and the rest two gulden for a first performance (PlÜmicke, Entwurf e. Theatergesch. von Berlin, p. 274).]

19 (return)
[ Briefe e. Aufmerks. Reisenden, I., p. 147.]

20 (return)
[ Briefe e. Aufmerks. Reisenden, II., p. 94. Burney, Reise, III., p. 46.]

21 (return)
[ "Comic operas push out all tragedies and legitimate drama," complained Ramier in 1771 (Knebel, Litt. Nachl., II., p. 33). Boie writes to Knebel to the same effect in 1771 (Litt. Nachl., II., p. 108): "I do not like operettas. The taste which our public is developing for them threatens to extinguish all hope of the revival of true comedy." So also Schubart, Teutsche Chronik, 1774, pp. 349. 478; Knigge, Ephemer. d. Litt. u. d. Theat., 1785, II., p. 98.]

22 (return)
[ A. M. Z., III., p. 327.]

23 (return)
[ Lessing's Werke, XI., p. 152.]

24 (return)
[ Weissc, Selbstbiogr., p. 103. Engel says the same in the preface to the "Apotheke," p. viII. Cf. Schmid, Das Parterr, p. 155.]

25 (return)
[ Briefe eines Aufmerks. Reisenden, I., p. 141. Ueb. d. Com. Opera, p. 6. Cf. Mus. Kunstmag., I., p. 161. Geist des Mus. Kunstmag,, p. 94.]

26 (return)
[ Riemer, Mitth., II., p. 111.]

27 (return)
[ Riemer, Mitth., II., p. 194.]

28 (return)
[ Goethe, Br. an Frau von Stein, III., pp. 181,191. Knebel, Litt. Nachl., I., P 149.]

29 (return)
[ Riemer, Mitth., II., p. 192. Briefw. m. Zelter, II., p. 121.]

30 (return)
[ Goethe, Werke, XXI., p. 6. Cf. Br. an Frau von Stein, III., p. 235.]

31 (return)
[ Cf. Goethe, Briefw. mit Zelter, II., p. 121. Riemer, Mittheil., II., p. 292.]

32 (return)
[ "Belmont und Constanze, oder die Entfuhrung aus dem Serail." Eine Operette. in drei Akten von C. F. Bretzner (Leipzig, 1781). A French adaptation, "L'EnlÈvement" was made by Ch. Destrais, Strasburg, 1857.]

33 (return)
[ Jul. AndrÉ has lately published this interesting relic: duet, "Welch Ängst-liches Beben," zur Oper "Die Entfuhrung aus dem Serail " von Mozart. Offenbach: AndrÉ (389 K.).]

34 (return)
[ Cramer, Magazin der Musik, II., p. 1057.]

35 (return)
[ In Constanze's aria the words run:— Mozart had previously written to his father (September 26, 1781): "! have altered Hui into schnell, thus: 'Doch wie schnell schwand meine Freude.' I do not know what our German poets are thinking of. Even if they do not trouble themselves to understand what is best fitted for dramatic or operatic treatment, they need not make human beings converse like pigs."]

36 (return)
[ Reichardt finds special fault with the rhyming in his Briefe Über die musikalische Poesie, p. 115 (an appendix to his pamphlet on the German Comic Opera, Leipzig, 1774).]

37 (return)
[ It must be kept in mind that German operatic poets confined themselves to imitating Italian opera libretti, which were all cast in the same mould. Krause's pamphlet, highly esteemed by contemporaries, Von der musikalischen Poesie (Berlin, 1752) takes this for granted; Hiller (Ueber Metastasio, 1786, p.6) refers the German librettists to Metastatio; even Goethe, although in another way, endeavoured to form German vaudeville after an Italian type. Views of the subject, similar to those of Mozart and Reichardt, are carried out in detail in Cramer's Magazin der Musik, II., p. 1061.]

38 (return)
[ Gluck's intentions were unquestionably the same. He warred against the mechanical formalism of musicians, and strove to free the composer from the fetters of form and make him a poet. But he was in some danger of going too far, and making the musician merely the interpreter of the poet.]

39 (return)
[ Cf. Hanslick, Vom Musikalisch-SchÖnen, p. 27.]

40 (return)
[ The same difficulty has led composers of the present day to write their own libretti. But it is not in nature that the highest aims can thus be attained. Burney quotes Metastatio's utterances on this point (Reise, II., p. 222). Cf. O. Jahn, Ges. Aufs. Üb. Musik, p. 70.]

41 (return)
[ Cf. Hanslik Vom Musikalisch-SchÖnen, p. 78.]

42 (return)
[ Lessing has some excellent observations on the relations of music to poetry in the continuation of his Laokoon (Werke, XI., p. 153).]

43 (return)
[ Hiller, Wochentl. Nachr., I., p. 256. Lebensbeschreibungen, I., p. 312. Reichardt, Ueb. d. Com. Oper, p. 8.]

44 (return)
[ He was perfectly aware that comic opera must follow its own laws. "You cannot imagine,'' he wrote to his father (June 16,1781), "that I should write an opÉra comique in the same style as an opera seria. Just as in an opera seria there must be a display of much learning and good sense, and very little playfulness, so in an opera buffa there must be very little display of learning and a great deal of playful merriment. It cannot be helped if people will have comic music in an opera seria; but there is a great difference. I believe that buffoonery is not quite rooted out of music yet; and in this case the French are right."]

45 (return)
[ The autograph score of the "EntfÙhrung" (384 K.), in three volumes (453 pages), was presented by Mozart to his sister-in-law, Madame Hofer, one evening when she had especially gratified him by her singing; it is now in the possession of Paul Mendelssohn-Bartholdv. of Berlin. Some of the odd sheets are in Andre's collection. Wolfgang writes to his father July 20, 1782: "You will find many erasures, because I knew that the score would be copied at once; so I let my ideas have free play, and made my alterations and abbreviations before sending it to the copyist."]

46 (return)
[ The ancients indicated this distinction by the terms pathos and ethos.]

47 (return)
[ Meyer II. Schroder. I., p. 368 speaks of his nasal tones in the high notes.]

48 (return)
[ These are the beautiful air, "Per pietÄ non ricercate" 420 K.. part Si; the air written in 1785 for the oratorio "Davide Penitente " (469 K.. 61. "A te fra tanti attanni" and a grand air belonging to 1783 (431 K. part 3.) which is one of the most beautiful. It supposes a faithful lover awaking to find himself in prison, and expressing his surprise and anger in an agitated recitative, "Misero! O sogno!" In the andante, "Aura che intomo spin," his thoughts turn to his beloved one, for whom he is suffering; a simple and dignified cantilene, full of warm, deep feeling. The allegro, expressive of his horror at his position, is full of wild excitement and anguish. The whole song is simple and full of manly dignity without bravura, which seems to have been Adam-berger's peculiar style. The musical treatment is rich in interesting detail; the wind instruments—flutes, bassoons, and horns—are employed to give individual colouring.]

49 (return)
[ This air was considerably abbreviated by Mozart. In the adagio there was originally a distinct middle movement following the second occurrence of the subject; it passed into the key of E flat major, and at the seventeenth bar closed in D minor, whereupon the first subject recurred. The allegro was also shortened.]

50 (return)
[ This air also was considerably altered by Mozart.]

51 (return)
[ The same may almost be said of the air "Tra le oscure ombre funeste," which Mozart composed in 1785 for Mdlle. Cavalieri in the oratorio, "Davide Penitente" (469 K., 8). The first movement is expressive of earnest feeling; the second has more of bravura.]

52 (return)
[ Salieri narrates that Gluck was dissatisfied with one part of his "Danaides" without knowing the reason why; after many repetitions he exclaimed at last, "I have it! the passage smells of music!" (Mosel, Salieri, p. 79).]

53 (return)
[ The bravura part was originally extended into eleven bars (from bar 5, p. 153)f with the voices and instruments contending; the close was also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a searching revision of the "Entfuhrung," making numerous alterations, especially abbreviations. "I heard him play one of Constanze s principal airs, after twofold revision, and deplored some of the omitted passages. 'They may do for the piano,' said he, 'but not on the stage.' When I wrote that I was too fond of hearing myself, and did not know when to leave off." This is the only instance known of such hypercriticism on Mozart's part.]

54 (return)
[ It has already been remarked that Mozart made use of a motif from "Zaide" for this air (Vol. II., p. 121).]

55 (return)
[ Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which may draw tears from the eyes of the most insensible." Even Berlioz (X Travers Chants, p. 243) thought highly of it.]

56 (return)
[ Cf. Lobe, A. M. Z., XLVIII., p. 537.]

57 (return)
[ A singular effect is given by the sustained notes of the oboes and bassoons with the appoggiatura:—[See Page Image] Mozart has made a similar use of them in the Wedding March in "Figaro," where he was equally desirous of imparting peculiarity of colouring.]

58 (return)
[ Mozart has used only the piccolo flute here, as specially adapted for the tattoo-like principal subject, and its wild, shrill conclusion. The clarinets are very originally treated, particularly in those places where they are apart from the other wind instruments and support the voice with sustained notes.]

59 (return)
[ Mozart's expression, in his letter to his father (September 26, 1781), "The drinking duet, which consists entirely of my Turkish tattoo (Zapfenstreich)," leads to the conclusion that he has here made use of an earlier composition, with which I am not acquainted. The Turkish music, in conjunction with trumpets (no drums), is admirably suggestive of Osmin's excited, half-tipsy state.]

60 (return)
[ This motif was evidently composed just as Osmin sings it. Fischer's flexible and melodious voice made it doubly effective in contrast to the less voluble tenor, so characteristic of the insignificant Pedrillo. At the outset, an admirable effect is produced by the violins, strengthened by piccolo and ordinary flutes, which gently accentuate the melody detached from its simple but agitated accompaniment. There is something peculiarly seductive in this melodious rippling sound, of which there is another instance in the Moor's song in the "ZauberflÖte."]

61 (return)
[ In its first design this air was considerably longer; the second part began at p. mt bar 9, instead of p. 109, bar 19; it was in D major, instead of A major, and led back into the first subject, bringing the whole to a conclusion after twenty-nine interpolated bars.]

62 (return)
[ The instrumentation of this air in full, and the orchestral parts carefully worked out; the accompaniment at the words "ohne Aufschub will ich eilen" is unusually charming and animated. It also has been shortened by Mozart.]

63 (return)
[ Arnold (Mozart's Geist, p. 375) interprets the words as though Pedrillo was trying to assume a courage which he did not possess.]

64 (return)
[ He writes to his father of the first (September 26, 1781): "The janizary chorus is all that can be desired, short and merry, and very well suited for the Viennese public."]

65 (return)
[ Ulibicheff, who makes some striking observations on this chorus, notices its many points of resemblance (such as the alternation of relative major and minor keys) to Russian national melodies, with which Mozart may have become acquainted at Prince Gallitzin's (II., p. 375).]

66 (return)
[ C. M. von Weber, Lebensbild, III., p. 191. Cf. A. Wendt, Leipzig Kunstbl., 1817, p. 189. (Heinse, Reise- und Lebensskizzen, I., p. 298.)]