[Footnote 8: The celebrated male soprano, Vittorio Loreto, who entered the Papal Kapelle in 1620 (Lindner zur Tonkunst, p. 43), enchanted the public with a Magdalene's song, probably by Dom. Mazocchi (Kircher, Musurg., VII., 9 t. I., p. 674), which he executed in sacello patrun congregations oratorü (Erythräus, pinac. II., 68).] [Footnote 9: According to Quadrio (Stor. di ogni poes., V., p. 425) the term oratorio was first used by Franc. Balducci (d. 1642); in Allacci's Dramaturgia (Ven., 1755) it often occurs after 1659; historians of literature, such as Muratori (d. Perfetta Poesia, III., 5) or Apostolo Zeno (Fontanini, Bibl. d. Eloq. Ital., I., p.489) use it as the customary one.] [Footnote 10: The treatises of Fink (in Ersch and Gruber's Encyclopédie, III., 4 p. 405) and Keferstein (A. M. Z., XLV.,p. 873) are very unsatisfactory,] [Footnote 11: During Lent oratorios were performed in the theatres even at a later date. Goethe (Werke, XIX., p. 182) saw "The Destruction of Jerusalem by Nebuchadnezzar" in Naples. Cf. Dittersdorfs Lebensbeschreibung, p. 144. Teutsch. Mercur, 1789, III., p. 218.] [Footnote 12: Hiller, Wöchentl. Nachr., I., p. 47. Burney, Reise, I., p. 276. At Vienna oratorios were regularly performed in the Imperial Chapel, and afterwards in the theatre, for charitable objects.] [Footnote 13: It was first brought out at Vienna in 1734, with music by Reutter; afterwards composed by Flor. Gassmann (Dittersdorfs Selbstbiogr., p. 203), and partially adapted by Salieri in 1821 (Wiener mus. Ztg., V., p. 294). It was also composed by Jomelli, Cafaro, Bernasconi in Munich, 1754, Sales in Coblenz, 1783, Schuster and Naumann in Dresden (Reichardt, Berl. mus. Ztg., I., p. 171), and by Mussini in Berlin (Ibid., II., p. 39), &c.] [Footnote 14: Scheibe, Krit. Musi eus, 22, p. 216.] [Footnote 15: André informs me that, according to a book of words with which I am unacquainted, this oratorio was performed in Lent of 1786 (not at Vienna, as Sonnleithner inferred), and Mozart appears to have composed another introductory chorus, "Qual fiero caso," and a quintet, "Te solo adoro," which André conjectures to be in Berlin; they have not been found, however (Nohl, Musiker-briefe, pp. 335, 337)] [Footnote 16: Mattheson, Critica Musica, I., p. no: "Dass die tiefen Singbässe einer Harmonie viele Majestät, viele Harmonie und force geben, ist unstreitig; ob aber allemahl etwas agréable, und nicht vielmehr sehr oft was rude und entsetzliches dabei vermacht sey, will dem Zuhörer ùberlaasen."] [Footnote 17: Hiller, Wöchentl. Nachr., I., pp. 326, 343, 353.] ==== MOZART BY DAVID WIDGER CHAPTER X. OPERA BUFFA. OPERA BUFFA was a gradual outgrowth from the opera seria, in which originally comic characters took part in burlesque scenes. {OPERA BUFFA.} (203)