[Footnote 42: "Bastienne, eine französische opéra-comique. Auf Befehl in einer freien Uebersetzung nachgeahmt von Fr. W. Weiskern. Wien, 1764." The French melodies were retained for some of the songs, and new ones composed for others. The piece was produced at Vienna (Müller, Zuverl. Nachr., I., p. 31), also in 1770 at Brünn (Ibid., II., p. 213), in 177a at Prague (Ibid., II., p. 163), and in 1776 at Hildesheim (Müller, Abschied v. d. Bühne, p. 137).] [Footnote 43: Nissen gives Schachtner as the librettist. His co-operation was probably confined to the versification of the prose dialogue, a few scenes of which Mozart afterwards composed in recitative; a useless labour, never completed.] [Footnote 44: A comparison of the examples which Hiller (über Metastasio, p. 17) quotes from a translation of Metastasio, which appeared in Vienna in 1769, will show some similarity.] [Footnote 45: A similar instance may be found in Weber's composition of Voss's songs [Footnote 46: This is noticed also by Hiller as especially characteristic in style (Wöehentl. Nachr., I., p. 376; II., p. 118).] [Footnote 47: Neue Sammlung zum Vergnügen und Unterrich (Wien, R. Graffer, 1768), IV., pp. 80, 140.] [Footnote 48: Nicolai, Reisc, IV., p. 648.] [Footnote 49: Nicolai, Reise, III., p. 228.] [Footnote 50: Burney, Reise, II., p. 107.] [Footnote 51: Müller, Abschied v. d. Bühne, p. 237.] [Footnote 52: "Wien. Diarium," 1768, 10 Christmon. No. 99.] ==== MOZART BY DW CHAPTER V. THE ITALIAN TOUR. THE Archbishop could not but feel flattered at the accomplishments of the young Salzburger, and he endeavoured, as far as lay in his power, to complete the partial success of the visit to Vienna by ordering a performance of Wolfgang's opera in Salzburg, notwithstanding that it was "an opera buffa, {THE ITALIAN TOUR.} (98) requiring performers of a buffo character." The programme, recovered by Köchel[1] gives the following [See Page Image] [2]cast:-- The performance must have taken place on the fête-day of the Archbishop or some similar festive occasion, and upon a stage specially erected in the archiepiscopal palace. {SALZBURG--MASS IN D MINOR.} (99) 1748, "La Clemenza di Tito" was given by the Signori Paggi di Corte, who played even the female parts, or of the chapel. It was the custom on such occasions at the close of the performance to address the person in whose honour it was given, generally in the form of an air with recitative, concluding with a chorus; this peroration, which had no connection with the body of the opera, was called _licenza_) Two such, composed by Wolfgang for Archbishop Sigismund, are still preserved; a tenor air (36 K.) and a soprano air (70 K.), both with long recitatives, giving testimony to increasing dexterity in the treatment of form.