1 (return)
[ Da Ponte, Mem., I., 2 p. 98.]

2 (return)
[ Mozart wrote the beautiful air "Non sÖ d'onde viene" for him on March 18 (512 K., Vol. I., p. 422).]

3 (return)
[ Cramer, Mag. Mus., 1788, II., p. 47.]

4 (return)
[ His naÏve and highly entertaining autobiography appeared in Leipzig in 1801.]

5 (return)
[ Dittersdorf, Selbstbiogr., p. 228.]

6 (return)
[ Gerber, A. M. Z., I., p. 307; ibid, III., p. 377. Cf. Biedenfeld, Die Komische Oper, p. 60.]

7 (return)
[ Berl. Mus. Wochenbl., 1791, pp. 37, 54, 163.]

8 (return)
[ MÜller, Abschied, p. 277.]

9 (return)
[ Cramer, Magaz. f. Musik, 1788, II., p. 53.]

10 (return)
[ "Mozart auf der Reise nach Prag" is the title of a novel by Eduard MÖricke (Stuttgart, 1856), written with the author's usual grace and delicacy. At the same time it is to be regretted that he has laid so much stress on the lighter, more worldly side of Mozart's character; and it is scarcely conceivable that a poet could have ascribed to Mozart a manner of composition which was as far as it was possible to be from his nature as an artist.]

11 (return)
[ Particulars concerning this visit to Prague are given by J. R. Stiepanek in the preface to his Bohemian translation of "Don Giovanni" (Prague, 1825, German translation by Nissen, p. 515)* The Prague reminiscences are revived also in the "Bohemia" (1856, Nos. 21-24). Heinse gives some details communicated by L. Bassi (Reise—u. Lebensskizzen, I., p. 208), and J. P. Lyser draws from the same source in his Mozart-Album (Hamburg, 1856). These accounts are, however, wanting, not alone in aesthetic culture, but in the discernment of what is historically true. On a lower level still must be placed Herib. Rau's "Cultur-historischer Roman" "Mozart" (Frankfort, 1858), which has little in common either with culture or history; his description of the visit to Prague is in especial a more appalling calumny on Mozart's moral and artistic character than has been ventured on by any of his opponents.]

12 (return)
[ Ost und West, 1839, No. 42, p. 172. A memorial tablet was afterwards placed on this house.]

13 (return)
[ The vineyard is called Petranka (Smichow, No. 169), and belongs, according to the "Bohemia" (1856, p. 118), to the merchant Lambert Popelka.]

14 (return)
[ In the autograph score the duet is written on smaller paper, and somewhat more hastily than the other numbers, as was the case with Masetto's air.]

15 (return)
[ Castil-Blaze has accepted these professional fables as literal truth (MoliÈre Musicien, I., p. 310).]

16 (return)
[ Da Ponte, Mem., I., 2, p. 103.]

17 (return)
[ The recitative and these two passages are omitted from the autograph score, which prevents any identification of the alterations. In "Idomeneo" the Oracle is accompanied only by trombones and horns. Gugler throws doubt on the anecdote (Morgenbl., 1865, No. 33, p. 777).]

18 (return)
[ At the wedding festivities in Vienna, on October 1, Martin's "Arbore di Diana" was performed (Wien. Ztg., 1787, No. 79, Anh.), and was repeated nine times in the same year.]

19 (return)
[ Wien. Ztg., 1787, No. 84. "Don Giovanni" was to have been played for the first time on this occasion, and Sonnleithner informs me that a book of the words had actually been printed, with the title-page, "Da rappresentarsi nel teatro di Praga per l'arrive di S. A. R. Maria Teresa, Archiduchessa d' Austria, sposa del Ser. Principe Antonio di Sassonia l'anno 1787." Here the first act closes with the quartet (8); the second act is intact. The performance did not take place, the Princess leaving Prague on October 15.]

20 (return)
[ Niemetschek, p. 87.]

21 (return)
[ In Mozart's Thematic Catalogue the subject of the overture is entered under date October 28, with the title, "Il Dissoluto Punito, o il Don Giovanni: Opera buffa in 2 Atti—Pezzi di Musica 24." The overture is, as usual, written as a separate piece, hastily, but with scarcely any alterations.]

22 (return)
[ A very unfavourable account of his greed for gain and unscrupulousness is given in the A. M. Z., II., p. 537.]

23 (return)
[ Da Ponte, Mem., I., 2, p. 103. The fee which he received was fifty ducats.]

24 (return)
[ Wien. Ztg. (1787, No. 91): "On Monday, October 29, Kapellmeister Mozart's long-expected opera, 'Don Giovanni, das steinerne Gastmahl,' was performed by the Italian opera company of Prague. Musicians and connoisseurs are agreed in declaring that such a performance has never before been witnessed in Prague. Herr Mozart himself conducted, and his appearance in the orchestra was the signal for cheers, which were renewed at his exit. The opera is exceedingly difficult of execution, and the excellence of the representation, in spite of the short time allowed for studying the work, was the subject of general remark. The whole powers, both of actors and orchestra, were put forward to do honour to Mozart. Considerable expense was incurred for additional chorus and scenery, which has been generously defrayed by Herr Guardasoni. The enormous audience was a sufficient guarantee of the public favour."]

25 (return)
[ So the story was told on the authority of Mozart's son, in the Berl. Musikztg. Echo (1856, No. 25, p. 198).]

26 (return)
[ L. de LomÉnin, Beaumarchais et son Temps, II., p. 399.]

27 (return)
[ Da Ponte, Mem., I., 2, p. 98. Mosel, Salieri, pp. 98, 128.]

28 (return)
[ Wien. Ztg., 1788, No. 3. MÜller, Abschied v. d. BÜhne, p. 277]

29 (return)
[ Da Ponte, Mem., I., 2, p. 108. A. M. Z., XXIV., p. 284. In 1788 "Axur" was performed twenty-nine times.]

30 (return)
[ Mus. Korr., 1790, p. 30.]

31 (return)
[ Berlin. Musik. Wochenbl., p. 5.]

32 (return)
[ Wien. Ztg., 1788, No. 38. My friend Gabr. Seidl informs me that in the accounts of the theatre for 1788-1789 is the entry (pp. 45,127): "Dem da Ponte Lorenz fur Componirung der Poesie zur Opera il Don Giovanni, 100 fl."; and pp. 47, 137: "Dem Mozart Wolfgang fur Componirung der Musique zur Opera il Don Giovanni, 225 fl."]

33 (return)
[ Da Ponte, Mem., I., 2, p. 104.]

34 (return)
[ "Don Giovanni" was performed fifteen times during this year. Lange's assertion, therefore, that it was withdrawn after the third representation rests upon an error. But after 1788 it was removed from the stage, and did not reappear until November 5, 1792, in a miserable German adaptation by Spiess. According to Da Ponte the Emperor exclaimed, after hearing "Don Giovanni": "The opera is divine, perhaps even more beautiful than 'Figaro.' but it will try the teeth of my Viennese." To which Mozart answered, on hearing the remark, "We will give them time to chew it." Joseph went into head-quarters on February 28, 1788, and did not return to Vienna till December 5 (Wien. Ztg., 1788, No. 18); he can only, therefore, have been present at the last performance of the year, on Dec. 15.]

35 (return)
[ A. M. Z., XXIV., p. 284.]

36 (return)
[ The different pieces are numbered in the same order in the announcement of the pianoforte score (Wien. Ztg., 1788, No. 42, Anh.).]

37 (return)
[ Cramer, Magazin d. Mus., July, 1789, p. 47.]

38 (return)
[ Cavalieri wished to sing it in E major instead of E flat major, and Mozart therefore made a transition into E at bar 19 of the recitative, and wrote over the air itself, "in E."]

39 (return)
[ He first appeared at Easter, 1788, in the "Barber of Seville" (Wien. Ztg., 1788, No. 34, Anh.).]

40 (return)
[ Journal der Moden, 1790, p. 50.]

41 (return)
[ Schink, Dramaturgische Monate (1790), II., p. 320.]

42 (return)
[ Schneider, Gesch. d. Berl. Oper, p. 59. A notice from Berlin in the Journal der Moden (1791, p. 76) says: "The composition of this opera is fine, although here and there it is very artificial, heavy, and overladen with instruments."]

43 (return)
[ Chronik v. Berlin, IX., p. 132. Cf. XI., p. 878.]

44 (return)
[ "Don Giovanni" was given five times within ten days.]

45 (return)
[ Chronik v. Berlin, IX., p. 316.]

46 (return)
[ Mus. Wochenbl., p. 158.]

47 (return)
[ Mus. Monatsschr., p. 122.]

48 (return)
[ Mus. Wochenbl., p. 19.]

49 (return)
[ Jacobi wrote to Herder, in July, 1792: "We were terribly bored by yesterday's opera; it is an insupportable affair, this 'Don Juan'! A good thing that it is over." (Auserl. Briefw., II., p. 91.)]

50 (return)
[ Briefw., 403,1., p. 432. Schiller had written (402, I., p. 431): "I have always had a certain amount of hope that the opera, like the choruses of the old hymns to Bacchus, would be the means of developing a nobler conception of tragedy. In the opera, a mere servile following of nature is forsaken, and the ideal, disguised as indulgence, is allowed to creep on the stage. The opera, by the power of music and by its harmonious appeal to the senses, attunes the mind to a higher receptivity; it allows of a freer play of pathos, because it is accompanied by music; and the element of the marvellous, which is suffered to appear in it, makes the actual subject a matter of indifference."]

51 (return)
[ Bohemia, 1856, No. 23, p. 122.]

52 (return)
[ A. M. Z., XXXIX., p. 800.]

53 (return)
[ A. M. Z., XL., p. 140.]

54 (return)
[ A. M. Z., XXXIX., p. 810.]

55 (return)
[ Castil-Blaze, L'Acad. ImpÉr. de Mus., II., p. 98.]

56 (return)
[ Castil-Blaze, MoliÈre Musicien, I., p. 321. Cf. Siever's CÀcilia, IX., p. 208. A. Schebest, a. d. Leben e. KÜnstlerin, p. 202.]

57 (return)
[ Castil-Blaze, MoliÈre Musicien, I., pp. 268, 323. L'Acad. ImpÉr. de Mus., II., p. 241.]

58 (return)
[ Leipzig, A. M. Z., 1866, p. 192.]

59 (return)
[ "Don Juan," opÉra en 2 actes et 13 tableaux. Édition du ThÉÄtre Lyrique.]

60 (return)
[ Pohl, Mozart und Haydn in London, p. 149.]

61 (return)
[ A. M. Z., XIII., p. 524. Stendhal, Vie de Rossini, p. 6.]

62 (return)
[ A. M. Z., XIV., p. 786; XV., p. 531.]

63 (return)
[ A. M. Z., XVI., p. 859.]

64 (return)
[ A. M. Z., XVIII., p. 232.]

65 (return)
[ A. M. Z., XX., p. 489.]

66 (return)
[ A. M. Z., XXVI., p. 570.]

67 (return)
[ A. M. Z., XXV., p. 639.]

68 (return)
[ Scudo, Crit. et LittÊr. Mus., I., p. 121. For similar remarks on an older Italian singer, see A. M. Z., XXV., p. 869.]

69 (return)
[ Viardot, Manuscr. Autogr. du D. Giov., p. 10. It must be remembered that Rossini's arrival in Paris, in 1823, was the signal for a party warfare between the Mozartists and Rossiniists, similar to that waged by the Gluckists and Piccinnists. Cf. A. M. Z., XXV., p. 829.]

70 (return)
[ Da Ponte, Mem., III., p. 43. Scudo, Crit. LittÉr. Mus., I., p. 178.]

71 (return)
[ Castil-Blaze, MoliÈre Musicien, I., p. 329.]

72 (return)
[ Da Ponte, Mem., III., p. 54.]

73 (return)
[ Da Ponte, Mem., III., p. 58.]

74 (return)
[ Rochlitz, A. M. Z., I., p. 51.]

75 (return)
[ E. T. A. Hoffmann's "Don Joan, eine fabelhafte Begebenheit, die sich mit einem reisenden Enthusiasten zugetragen," written in September, 1812 (Hitzig Hoffmann's Leben, II., p. 35), appeared in the first volume of his "Phantasie-stÜcke in Callot's Manier" (Bamberg, 1813). The novel and striking ideas contained in the article made a great impression at the time, and to Hoffmann is due the merit of adducing from the music the poetical and psychological truth of the opera.]

76 (return)
[ I will here only mention H. G. Hotho, Vorstudien fur Leben und Kunst (Stuttgart, 1835), p. 1; Victor Eremita, Det Musikalsk-Erotiske, in Enten-Eller (Copenhagen, 1849), I., p. 25; and P. Scudo, Crit. et. LittÉr. Music., I., p. 150. Others will occur later on; but a compilation of all that has been written, to the purpose or not, on the subject of Don Juan would be a very tedious and not a very profitable labour.]

77 (return)
[ The usual title of opera buffa is given to "Don Giovanni" by Mozart in his Thematic Catalogue; in the libretto it is called "dramma giocoso."]

78 (return)
[ On the adaptations of this subject cf. Cailhave, De l'Art de la ComÉdie (Paris, 1785), III., ix t.; II., p. 175; Kahlert, Die Sage vom Don Juan (Freihafen, 1841), IV., 1, p. 113. Much serviceable information, together with some nonsense, may be found in Castil-Blaze, MoliÈre Musicien, I., p. 189. A collection of Don Juan literature in the Russian language, by C. Swanzow, has been sent to me by the author.]

79 (return)
[ The name and arms of the family of Tenorio (once distinguished in Seville, but long since died out) are given by Castil-Blaze (p. 276), from Gonzalo Argole de Molina's Nobleza de Andaluzia (Seville, 1588), p. 222. According to Favyn (ThÉÄtre d'Honneur et de Chevalerie, Paris, 1620) Don Juan Tenorio was the companion of King Pedro (1350-1369) in his cruelties and lusts.]

80 (return)
[ The legend is told by Castil-Blaze (p. 221), after Puibusque, Hist. ComparÉe des LittÉr. Espagn. et FranÇ. (Paris, 1843). Schack asserts that it is still current in Seville, and sold in the streets on loose sheets, in the form of a romanze.]

81 (return)
[ Castil-Blaze, p. 222. Arnold (Mozart's Geist, p. 298) says that the true source is a political romance by a Portuguese Jesuit, entitled "Vita et mors sceleratissimi principis Domini Joannis."]

82 (return)
[ Schack, Gesch. der dram. Litt. u. Kunst in Spanien, II., p. 552. L. Schmidt, Die vier bedeut Dramatiker der Spanier, p. 10. Tellez died in 1648, seventy-eight years old; in 1621 he had already written three hundred comedies.]

83 (return)
[ An epitome of the piece, published in Eugenio da Ochoa's Tesoro del Teatro Espaniol (Paris, 1838, IV., p. 73), was given by Cailhava, II., p. 179. Kahlert and Castil-Blaze. It is now accessible in the translations of C. A. Dohrn (Spanische Dramen, I., p. 1) and L. Braunfels (Dramen aus u. n. d. Span., I., p. 1).]

84 (return)
[ The part of Tisbea is very charmingly treated; Byron has made use of this part of the subject.]

85 (return)
[ When Don Juan swears to marry Aminta, he says, with ambiguous mockery:—]

86 (return)
[ Schack (II., p. 569), quoting from a license to publish Tirso's works, says that they contain nothing which could offend good manners, and that they present admirable examples to youth.]

87 (return)
[ Schack (II., p. 679).]

88 (return)
[ Riccoboni, Hist. du. ThÉÄtre Ital., I., p. 47.]

89 (return)
[ Castil-Blaze (p. 263) has a list of the editions.]

90 (return)
[ Goldoni, MÉm., I., p. 163. Eximeno, L'Orig. d. Musica, p. 430.]

91 (return)
[ Cailhava, in an analysis of the Convitato (II., p. 186), remarks that he has observed trifling alterations in different performances, but that in essentials the piece is always the same. A more detailed analysis of a later piece, differing somewhat in detail, is given by Castil-Blaze (I., p. 192).]

92 (return)
[ Castil-Blaze's piece omits this adventure, and begins with Donna Anna and the murder of the Commendatore.]

93 (return)
[ Castil-Blaze's sketch inserts the peasant wedding here.]

94 (return)
[ This piece alone was in writing, all the rest was improvised.]

95 (return)
[ Castil-Blaze, I., p. 243.]

96 (return)
[ Dictionnaire des ThÉÄtres de Paris, II., p. 539.]

97 (return)
[ The French pieces are enumerated in the Dictionnaire des ThÉÄtres de Paris, II., p. 540.]

98 (return)
[ This absurd title, arising from an error of translation (Convitato ConviÉ), not only held its ground in France, even after its exposure by De VisÉ (Mercure Galant, 1677, I., p. 32), but it was rendered still more nonsensical in its German form, "Das steinerne Gastmahl," which was the usual title in the last century.]

99 (return)
[ In the same year, 1659, Tirso's drama was played in Paris by Spanish actors (Castil-Blaze, p. 247).]

100 (return)
[ Castil-Blaze, I., p. 246.]

101 (return)
[ Goldoni, MÉm., I., 29, p. 163.]

102 (return)
[ Cailhava, II., p. 193.]

103 (return)
[ Dictionnaire des ThÉÄtres, II., p. 542.]

104 (return)
[ Dav. Erskine Baker, Biographia Dramatica (London, 1782), II., p. 188. Th. Shadwell, Poeta Laureatus under William III., lived 1640-1692.]

105 (return)
[ Schack, III., p. 469.]

106 (return)
[ MÜller, Abschied, p. 63.]

107 (return)
[ Meyer, L. Schroder, I., p. 153; Cf. II., 2, pp. 55, 144.]

108 (return)
[ Meyer, II., 2, p. 44.]

109 (return)
[ Meyer, II., 2, p. 179. SchÜtze, Hamburg. Theatergesch., p. 375.]

110 (return)
[ [Oehler] Geschichte des ges. Theaterwesens zu Wien, p. 328.]

111 (return)
[ Sonnenfels, Ges. Schr., III., p. 139. Pohl showed me a printed table of contents, without date or place: "Das steineme Gastmahl, oder die redende Statue sammt Arie welche Hanns-Wurst sin get, nebst denen Versen des Ere-miten und denen Verzweiflungs-Reden des Don Juans bey dessen unglÜcksee-ligen Lebens-Ende."]

112 (return)
[ Three puppet plays from Augsburg, Strasburg, and Ulm have been published by Scheible (Das Kloster, III., p. 699); they are very mediocre. MoliÈre's "Don Juan," as an opera for puppets, was played in Hamburg in 1774 (Schletterer, Deutsch. Singsp., p. 152).]

113 (return)
[ Dictionnaire des ThÉÄtres, II., p. 540.]

114 (return)
[ MÉm. sur les Spectacles de la Foire, I., p. 153.]

115 (return)
[ Schmid, Gluck, p. 83. Castil-Blaze conjectures (I., p. 265) that this ballet was written in Parma, in 1758. Sara Goudar, in her Remarques sur la Musique Italienne et sur la Danse (Paris, 1773), writes about Gluck: "Gluck, Allemand comme Hasse, l'imita [Jomelli]; quelquefois mÊme le surpassa, mais souvent il fit mieux danser que chanter. Dans le ballet de Don Juan, ou Le Festin de Pierre, il composa une musique admirable" (Ouvr. MÈl., II., p. 12). Printed before Wollank's pianoforte score, and in Lobe's Flieg. BlÀtt. f. Mus., I., p. 122.]

117 (return)
[ A ballet, "II Convitato di Pietra," was given in Naples in 1780 (Signorelli, Stor. Crit. d. Teatri, X., 2, p. 172).]

118 (return)
[ This opera was also performed in Braunschweig in 1782 (Cramer, Mag. f. Musik, I., p. 474).]

119 (return)
[ The book of the words printed in Vienna has on the title-page "da rap-presentarsi ne' teatri privilegiati di Vienna l' anno 1777.]

120 (return)
[ Castil-Blaze, I., p. 267.]

121 (return)
[ Goethe, Briefw m. Zelter, II., p. 160.]

122 (return)
[ Musik. Monatschr., p. 122.]

123 (return)
[ Da Ponte, Mem., II., 1, p. 28.]

124 (return)
[ The manuscript (perhaps autograph) in the archives of the Society of Musicians in Vienna bears the title, "Ü Convitato di Pietra, Atto solo del Sgr. Giuseppe Gazaniga. In S. MoisÈ, 1787." The greater part of the recitative, five pieces in score, and four airs with voice part and bass, are preserved.]

125 (return)
[ Recensionen, 1860, No. 38, p. 588.]

126 (return)
[ The fact of her non-reappearance is proved by the same singer taking the part of Maturina.]

127 (return)
[ Here, doubtless, was inserted the quartet, "Non ti fidar o misera," composed by Cherubini for the performance in Paris in 1792 (Scudo, Crit. et Litt. Mus., I., p. 181). Not. de Manuscr. Autogr. de Cherubini, pp. 12, 101.]

128 (return)
[ For a performance at Ferrara, Ferrara is substituted for Venezia.]

129 (return)
[ Atto solo is on the title-page instead of secondo, which is struck out; on the second scene is Atto secondo, and the finale is superscribed Finale secondo. On the other hand, the scenes are continuously numbered from 1 to 24. I can only suppose that an earlier version has been abridged for representation.]

130 (return)
[ A "Don Giovanni" ascribed to Cimarosa is the result of a mistake; his opera, "Ü Convito," composed in 1782, is an adaptation of Goldoni's "Festino," and has nothing to do with Don Juan (Castil-Blaze, p. 267).]

131 (return)
[ When Sonnleithner had succeeded in obtaining the books of the words printed for the first performances in Prague and Vienna, he published a reprint of the first with the alterations and omissions of the second, together with all the scenic remarks written by Mozart on his score. "Ü Dissoluto Punito, ossia il Don Giovanni. Dramma giocoso. Poesia di Lorenzo da Ponte." Leipzig, 1865.]

132 (return)
[ I have, unfortunately, been unable to obtain Zamora's drama.]

133 (return)
[ Eckermann, GesprÄche mit Goethe, I., p. 64.]

134 (return)
[ The scenic order, for which the books of the words give important data, has been the subject of much recent controversy. Cf. Recensionen, 1859, No. 25. A. von Wolzogen Über d. seen. Darstellung von Mozart's "Don Giovanni" (Breslau, 1860). Bitter, Mozart's "Don Juan," p. 62. Sonnleithner, Recensionen, 1865, No. 48. Woerz, Wien. Ztg., 1866, No. 293, &c.]

135 (return)
[ Gazzaniga's "Eximena" is wisely omitted.]

136 (return)
[ Zerlina owes to Goldoni's "Elisa" a strong tinge of frivolity; and the credulity and inexperience of the peasant maid are not without an alloy of sensuality. She is, however, at the same time endowed with a natural charm that enables Mozart to represent her with full consistency as a very lovable creature.]

137 (return)
[ This shows the progress made upon Gazzaniga's work. That which was a mere comic by-play is here used as a motive for giving a common interest to the characters, and leads to the recognition of Don Giovanni, and to the climax of the finale.]

138 (return)
[ At Hamburg, members of noble families required that minuets should be played alternately with the country dances, "that they might not be obliged to mix with the crowd" (Meyer, L. Schroder, I., p. 150).]

139 (return)
[ Gugler's idea (Morgenbl., 1865, p. 775) that Don Giovanni feigns his alarm, as if saying to his captors, "Your unexpected and unfounded accusations have altogether upset me," has not convinced me.]

140 (return)
[ The air is given in the Niederrhein. Mus. Ztg., II., p. 413. Mozart has changed the original key (A major) and somewhat condensed the whole, to its decided advantage.]

141 (return)
[ How far superior to the senseless toasts in Righini's and Gazzaniga's versions.]

142 (return)
[ O. Gumprecht, Deutsch. Theater-Archiv, 1859, Nos. 2, 3.]

143 (return)
[ The earliest translation is that by Bitter, mentioned by E. G. Neefe (1789). Don Giovanni is called Herr von SchwÄnkereich; Leporello, Fickfack. It circulated in manuscript, and was the foundation of most of the earlier German versions, as well as of those by Schroder and Rochlitz (Leipzig, 1801), which cannot be adjudged free from the faults of their predecessors. Kugler showed by his own attempt how difficult a task it was (Argo, 1859, p. 353). A great advance has been made in the recent versions of W. Viol ("Don Juan": Breslau, 1858); L. Bischoff, in Simrock's pianoforte score (Cf. Niederrh. Mus. Ztg., 1858, p. 397; 1859, p. 88); A. von Wolzogen (Deutsche Schaub., IX., 1860); C. H. Bitter (Mozart's "Don Juan" u. Gluck's "Iphigenia in Tauris," Berlin, 1866). Lyser's announcement of a translation by Mozart himself (N. Ztschr., XXI., p. 174), of which he quoted fragments, was unquestionably the result of a mystification, in spite of Lyser's repeated declaration that he had copied from the autograph original in the possession of Mozart's son (Wien. Mus. Ztg., 1845, p. 322), where Al. Fuchs did not find it (Ibid., p. 343).]

144 (return)
[ G. Weber makes a statement with regard to Mozart's autograph score (CÄcilia, XVIII., p. 91) which places the question of the inserted pieces in a very clear light. The treasure, which could find no place in any public collection of Germany, came into the possession of Madame Pauline Viardot; a new account of it is given by Viardot in the "Illustration" of the year 1855 (Deutsch. N. Wien. Mus. Ztg., 1856, V., No. 9). He relates at the close that Rossini called upon him saying: "Je vais m'agenouiller devant cette sainte relique"; and after turing over the score exclaimed: "C'est le plus grand, c'est le maÎtre de tous; c'est le seul qui ait eu autant de science que de gÉnie et autant de gÉnie que de science."]

145 (return)
[ The character and meaning of this remarkable and much-discussed piece of music are so distinctly marked that they cannot fail to be apprehended. CL Hoffmann's suggestions (FantasiestÜcke, I., 4, Ges. Schr., VII., p. 92), Ulibicheff (Mozart, III., p. 105), KrÜger (Beitrage, p. 160), and the elaborate analysis by Lobe (A. M. Z.t XLIX., pp. 369, 385, 417, 441), where the effort to trace everything back to a conscious intention has led to some singular mis* apprehensions.]

146 (return)
[ In the overture to "Cosi fan Tutte" also, Mozart has made a humorous use of a motif from the opera; and in both cases has made it introductory to the principal subject of the overture, which is an altogether independent composition. The superficial device of making the whole overture an embodiment of different subjects from the opera, a custom introduced by Weber, would not occur to artists whose aim was to produce a consistent whole, working from within outwards.]

147 (return)
[ In the printed score, the B of the last bar is B flat; the original has this B flat only in the last bar but one. The position of this chord with C sharp above B natural is unusual, but not unprecedented. Mozart has left the chief melody undisturbed to the first violins, the B flat of the second violins corresponding to the C of the flutes. The repetition of the passage in the second part of the overture is not written out.]

148 (return)
[ Marpurg, Von der Fuge, II., p. 77. Kirnberger, Kunst des reinen satzes, II., 2, p. 18. It will be found in the Kyrie of Stolzel's Missa Canonica.]

149 (return)
[ NÄgeli, who finds great fault with Mozart's "exaggerated and licentious contrasts" (Vorlesungen, pp. 157, 160), asserts that the allegro of the overture contains a bar too much, and that the rhythm is thereby destroyed; a reproach which was thoroughly refuted by Kahlert (N. Ztschr. f. Mus., XIX., p. 97).]

150 (return)
[ Mozart has suggested this train of ideas independently of Da Ponte. To the Commendatore's reproach: "Cosi pretendi da me fuggir?" Don Giovanni answers in the act of going, sotto voce, "Misero!" then to the renewed exclamation, "Battiti!" he repeats, piu voce, "Misero!" and not until the Commendatore has come close to him does he break out with "Misero attendi!"]

151 (return)
[ The duel is simply and appropriately rendered by the answering whizzing passages for the violins and bass; very similar to Gluck's ballet, only more elaborated.]

152 (return)
[ Gazzaniga has made a tolerably long piece of it, not without expression, and the best in his opera—but how far apart from Mozart!]

153 (return)
[ Schaul (Briefe Üb. d. Geschmack in der Musik, p. 51) cites this sestet as an instance of Mozart's sins against sound sense, because it is written in tragic instead of melodramatic style.]

154 (return)
[ The musical treatment of the words of the Commendatore has been visibly influenced by Gluck's "Alceste." A comparison of the two will show how skilfully Mozart introduced more delicate touches of detail without injuring the imposing effect of the whole.]

155 (return)
[ A force and brilliancy are given to the wind instruments by means of the trombone such as was never before dreamed of. Mozart's sheet with the wind instruments is lost, but an old copy has the trombones. They are not used in the overture, because he meant it to be merely suggestive, and wished neither to lessen the impression of the actual apparition, nor to disturb the tone character of the overture. Gugler seeks to prove that the trombones were added later by SÜssmayer (Leipzig, A. M. Z., 1867, No. 1-3), which I am not prepared to allow.]

156 (return)
[ An instance is Leporello's confidential whisper to Elvira (intensified in effect by the interrupted cadence on B flat and the wonderful bassoon notes): "Sua passion predominante È la giovin principiante]

157 (return)
[ The distinguishing form of imitation appears to be always justified psychologically by its appropriateness to the particular character; in the quartet, for instance, Donna Anna and Don Ottavio have the imitation; in the first finale it is given to Zerlina and Masetto.]

158 (return)
[ A. M. Z., II., p. 538.]

159 (return)
[ Beethoven declared he could not write operas like "Figaro' and "Don Juan"; they were repulsive to him (Rellstab, Aus meinem Leben, II., p. 240. Cf. Beethoven's Studien, Anh., p. 22). The pure morality of the great man, both in his life and his art, must be reverently acknowledged; at the same time, without allowing art to stray beyond the bounds of morality, we would not willingly see it excluded from the representation of this phase of human nature.]

160 (return)
[ There is no truth in the remark in the Fliegende BlÄttem f. Musik (I., p. 184) that the song shows Don Giovanni as he wished to appear, while the accompaniment indicates what he really was. Don Giovanni expresses his real feelings, and the song is not mere hypocrisy. The peculiar character of the accompaniment is brought about simply by the nature of the instruments.]

161 (return)
[ This little duet and chorus is written on different paper, like Masetto's air (Anh. 2). The two were not inserted later, but written in Prague, during the rehearsals, when the whole of this part seems to have been revised.]

162 (return)
[ In the autograph score the second part has no new tempo marked; Mozart intended to denote the climax by the change of beat; not by accelerated tempo. The chromatic interlude, which Ulibicheff looks upon as a moral warning (Vol. II., p. 125), gives me the impression of sensual longing.]

163 (return)
[ The words which are given to Don Giovanni after the recommencement of the minuet, "Meco tu dei ballare, Zerlina vien pur qua," are not in the original score, nor in the libretto; later on, when he leads her to the country dance, he says: "Il tuo compagno io sono, Zerlina vien pur quÀ."]

164 (return)
[ Mozart rightly calls the piece not terzetto, but aria, for Don Giovanni's and Leporello's interruptions are only peculiarly constructed ritornellos, and do not alter the very simple aria form of the piece.]

165 (return)
[ The assertion that Mozart wrote above the air "Nello stile di Haendel" (Rochlitz, A. M. Z., I., p. 116) is unfounded.]

166 (return)
[ Ambros, "GrÀnzen der Musik und Poesie," p. 61.]

167 (return)
[ In the Fliegenden BlÄttern fur Musik (III., p. n.) it is pointed out that the beginning of this melody is identical with the serenade, and this is adduced as an instance of refined characterisation, meant to indicate Don Giovanni's treachery to Elvira, whom he is addressing, while he is thinking of the waiting-maid; there is no foundation for the idea, however.]

168 (return)
[ Gumprecht's remarks on this are instructive (Klass. Sopran-album, p. 8).]

169 (return)
[ Gazzaniga places it in recitative before the finale.]

170 (return)
[ It is an oft-repeated mistake that this part was written by Mozart for Campi, who was born in Lublin, 1773, and had been a main support to Guardasoni's company since 1791 (A. M. Z., II., p. 537).]

171 (return)
[ Marx, Berl. Mus. Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p. 251. Genast says (Aus d. Tageb. e. alten Schausp., III., p. 171) that Bethmann rendered Donna Anna in this sense, and that upon his representation SchrÖder-Devrient copied it. Cf. A. von Wolzogen, Wilh. Schroder-Devrient, p. 163.]

172 (return)
[ It is a great improvement on Gazzaniga's libretto that Donna Anna does not disappear after her first entrance, but takes the place in the plot of the meaningless Eximena; but to invent new motives for her was beyond Da Ponte's power.]

173 (return)
[ Ulibicheff (III., p. 113), Lobe (Flieg. BlÄtt. f. Mus., I., p. 221), Vincent (Leipz. Theat. Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860, pp. 222, 231), have taken a right view of Don Ottavio's character.]

174 (return)
[ Marx considers the voice parts and the whole spirit of the aria powerful and grand, but the instrumentation trivial (Kompositionslehre, IV., p. 529); he conjectures that it may have been worked out by Sussmayer. This conjecture is contradicted by the autograph score; and we may rather believe that Mozart was actuated by consideration for Saporiti's voice, and refrained from overpowering it by the instrumentation.]

175 (return)
[ Even at the beginning of the finale there is no chorus of villagers. Don Giovanni enters with several servants, who echo his greeting to the guests: "Su corraggio, o buona gente!"]

176 (return)
[ Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.]

177 (return)
[ Da Ponte, Mem., III., i p. 80. A. M. Z., XXIV., p. 301. Cf. A. Schebest, Aus d. Leben e. Kunstlerin, p. 203.]

178 (return)
[ Bitter, Mozart's "Don Juan," p. 82.]

179 (return)
[ The substitution of a letter in his stead, written by him to Donna Anna, confuses the situation without helping out Don Ottavio. Gugler, Morgenbl., 1865, No. 33, p. 780.]

180 (return)
[ Whoever has heard this air sung by a true artist will have been convinced that the often-abused second movement of it is a necessary element of the characterisation.]

181 (return)
[ The same jest has been introduced by Weber in the first act of "Der FreischÜtz," when the village musicians fall into the ritornello after the mocking chorus.]

182 (return)
[ The second and third orchestra consist only of two violins and bass, the wind instruments of the first doing duty for all; Mozart apparently wished to avoid a multiplication of effects.]

183 (return)
[ It is remarkable that there is in the music of "Don Giovanni" no trace of national characterisation. In this dance-music, where it might have occurred, in the table music of the second finale and in the serenade, Mozart has drawn his inspiration from his immediate surroundings, and has reproduced this directly upon the stage.]

184 (return)
[ The first idea which must occur to them on the breaking out of the storm: "How differently this fÊte began," is humorously suggested in the words—[See Page Image] an echo of Don Giovanni's exclamation: "SÙ svegliatevi da bravi!"]

185 (return)
[ It has been said that the whole of the table music was inserted in Prague during the rehearsal, and it bears all the traces of a happy and rapidly worked-out inspiration.]

186 (return)
[ A musical friend in 1822, forestalling Meyerbeer, proposed to sing the part of the Commendatore through a speaking-trumpet behind the stage, while an actor was going through the gestures on the stage. A. M. Z., XXIV., p. 230.]

187 (return)
[ At Munich the close of the finale was formerly followed by the chorus of Furies from Vogler's "Castor und Pollux," which is in the key of A flat major! (A. M. Z., XXIII., p. 385.)]

188 (return)
[ Gugler conjectures that the abbreviation proceeds from Sussmayer (Leipzig, A. M. Z., 1866, p. 92), which appears to me improbable.]

189 (return)
[ Gugler, Morgenbl., 1865, No. 32, p. 745.]

190 (return)
[ Castil-Blaze, MoliÈre Musicien, I., p. 338.]

191 (return)
[ Argo, 1854, I., p. 365. Cf. Gantter, Ulibicheff, Mozart, III., p. 361. Viol, "Don Juan," p. 25.]