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.]