Wolfgang did not return to Salzburg. His gay life in Munich was interrupted by a summons from the Archbishop to Vienna. There he accordingly arrived on March 12, and there his destiny was to be fulfilled. FOOTNOTES TO CHAPTER XXII. [Footnote 1: Diet, des Théätres, III., p. 126. An edition by Christoph Balard appeared in 1712, and the text is printed (Rec. des Opéras, XII., 1).] [Footnote 2: Idomeneus's vow, his unwillingness to sacrifice his son, the consequent pestilence, and his dethronement by the people, are found in ancient writers; the rest is modern.] [Footnote 3: I owe to the courtesy of Herr Reg. Lenz, of Munich, the original libretto with the dialogues in full, not abbreviated as they afterwards were for composition: "Idomeneo, dramma per musica, da rappresentarsi nel teatro nuovo di corte per comando di S. A. S. E. Carlo Teodoro, nel Carnovale, 1781" (Munich: Frz. Jos. Thuille.).] [Footnote 4: A regular finale to an opera seria was first introduced by Giov. Gammerra in his "Pirro" (1787); so says Manfiredini (Reg. Armon., p. 121), who disliked this mixture of styles.] [Footnote 5: ALoysia Weber was no longer in Munich; she had removed with her family to Vienna, where the good offices of the imperial ambassador, Count Hardeck, had procured her an engagement as prima donna. It is an error to suppose that this visit of Mozart to Munich had anything to do with his relations to Aloysia.] [Footnote 6: Similar stories were told elsewhere of the Maras (Cf. Forkel's Musik. Alman., 1789, p. 122; and the account of Mara in Zelter's Briefw. mit Goethe, III., p. 418; VI., p. 149).] [Footnote 7: "The accompaniment to the subterranean voices," writes Wolfgang (January 3, 1781), "is in only five parts, namely, three trombones and two horns, which proceed from the same place as the voices. The orchestra is silent at this place." This arrangement was not carried out without opposition from Count Seeau.] [Footnote 8: The notice was also published in the Augsburgischen Ordinari-Postzeitung February 5, 1781, No. 31), Rudhart, Gesch. d. Oper zu München, I., p. 168.] [Footnote 9: So says Rochlitz (A. M. Z., I., p. 51). His authorities, however, are on the main points untrustworthy.] [Footnote 10: Reichardt, who was usually rather inclined to depreciate Mozart, gives an appreciative criticism of "Idomeneo," and speaks of it as the purest work of art which Mozart ever completed (Berl. Mus. Ztg., 1806, p. 11). Seyfried's criticism of the opera is insignificant (Cäcilia, XX., p. 178), but Ulibicheffs remarks are often striking, and show much delicate perception (Nouv. Biogr., II., p. 94).] [Footnote 11: I should not like to assert that this tremolo passage was not suggested by the words; just as in Idomeneo's aria (13) the words "fuor del mar ho un mar in seno" have suggested the billowy motif of the accompaniment.]