[Footnote 10: In the second vesper a long triplet passage is given to the solo soprano at the words "Cornu eius exaltabitur," but nothing further comes of it.] [Footnote 11: Printed as an offertory, "Amavit eus Dominus" (Vienna: Diabelli).] [Footnote 12: Printed as an offertory, "Sancti et justi" (Vienna: Diabelli).] [Footnote 13: Wolfgang had promised to compose an aria for him, but had not done so when he was summoned to Munich for "Idomeneo", reproached by his father, he found time in the full swing of his work at "Idomeneo" to write this aria and send it to Salzburg (November 22,1780).] [Footnote 14: The Wien. Ztg. (1786, No. 31) contains an obituary notice. Cf. Gervinus, Gesch. d. Poet. Nat. Litt., IV., p. 590.] [Footnote 15: Published in Vienna, 1774, Frankfort, 1775, and in Freih. von Gebler's Theatralischen Werken (Prague and Dresden 1772), III., p. 305.] [Footnote 16: Confirmed by an expression of Mozart to his father, written from Vienna (February 15, 1783): "I am really sorry that I cannot make use of the music to "Thamos." The piece, having failed here, is destined to be never again performed. If it were, it would be solely on account of the music, and that is scarcely likely. It is certainly a pity!" Mozart gave his music, in 1786, to the needy theatrical manager Bulla, who made a good profit by it (Nissen, p. 685); "König Thamos" was given the same year in Berlin (Teichmann's Litt. Nachl., p. 40). The whole composition was successfully performed at Frankfort in the winter of 1865, with a connecting poem by Gisb. von Vincke.] [Footnote 17: Cf. Schmid, Nekrolog, 1., p. 363.] [Footnote 18: Lessing, Hamb. Dramat. St., 26 (Werke, VI., p. 115).] [Footnote 19: Betracht. d. Mannh. Tonsch., I., p. 313; III., p. 253.] [Footnote 20: "Haydn's _entr'actes_ (to 'Zaire') are really fine," writes L. Mozart (October 6, 1777). "One of them was an arioso with variations for violon-celli, flutes, oboe, &c., and next after a _piano_ variation came one with Turkish music so suddenly and unexpectedly that all the women started, and there was a general titter. Between the fourth and fifth acts was a cantabile with recitatives for the English horn, and then the arioso again, which accorded very well with the sadness of the preceding scene and with the following act."] [Footnote 21: It might be supposed that the overture before mentioned (Vol. II., p. 86) was intended for this play, and the date of the composition agrees with this supposition. But the paper differs from that of the other instrumental movements, and Mozart was exact and careful in these matters. Something also of the solemn dignity characteristic of the choruses might be looked for in an overture to "König Thamos"; in other respects it is not unsuitable.] [Footnote 22: The usual Salzburg orchestra is kept in view for these movements: strings, oboes, bassoons, and horns; and for the three entr'actes (I., IV., V.), trumpets and drums.]