The masterly treatment of the orchestra in the "Entführung has been repeatedly pointed out, and there is no need to repeat that Mozart turned to account all the advantages offered to him by the Vienna orchestra. In comparison with "Idomeneo" the instrumentation is not exactly scantier, but it is clearer and simpler; the tendency to employ the different instruments independently, to bring forward subordinate subjects, &c., is held in check, and the details are more lightly treated on account of stage effects. "I think I may venture to lay down," says Weber, "that in the 'Entführung' Mozart's _artist experience_ came to maturity, and that his _experience of the world_ alone was to lead him to further efforts. The world might look for several operas from him like 'Figaro' and 'Don Juan,' but with the best will possible he could only write one 'Entführung.' I seem to perceive in it what the happy years of youth are to every man; their bloom never returns, and the extirpation of their defects carries with it some charms which can never be recovered."[66] FOOTNOTES OF CHAPTER XXV. [Footnote 1: Gottsched, Nothiger Vorrath, p. 314.] [Footnote 2: Schletterer, Das Deutsche Singspiel, p. 110.] [Footnote 3: Chronologie des Deutschen Theaters, p. 109. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 193.] [Footnote 4: Furstenau, Zur Gesch. der Musik zu Dresden, II., p. 246.] [Footnote 5: Chronol., p. 159; Cäcilia, VIII., p. 277.] [Footnote 6: Weisse, Selbstbiogr., pp. 25, 41; Blümner, Gesch. d. Theat. in Leipzig, p. 98.] [Footnote 7: Blümner, ibid. Danzel, Gottsched, p. 172.] [Footnote 8: Chronol., p. 202] [Footnote 9: Chronol., p. 247.] [Footnote 10: Blumner, Gesch. d. Theat. in Leipzig, p. 159. Hiller, Wochentl. Nachr., I., p. 219; II., pp. 135, 150. N. Bibl. d. Schön. Wiss., 1767, IV., p. 178. [Reichardt] Briefe e. Aufm. Reia., II., p. 23. Meyer, L. Schroder, I., p. 131. Goethe, Werke, XVII., p. 295.] [Footnote 11: Hiller, Wöch. Nachr., I., p. 253; III., p. 59.] [Footnote 12: Weisse, Selbstbiogr., p. 102.] [Footnote 13: Hiller, Lebensbeschr. beruhmter Musikgelehrten, p. 311.] [Footnote 14: Cf. Deutsch. Museum, 1779, II., p.268. Plümicke, Entwurf e. Theatergesch. von Berlin, p. 205. The contrary is reported of Cassel as a rare exception (Berl. Litt. u. Theat.-Ztg., 1783, II., p. 409).] [Footnote 15: L. Schneider, Gesch. d. Oper in Berlin, p. 209.] [Footnote 16: The constitution of the operatic repertory of the time is shown in the review of the operettas performed in Berlin from 1771-1787 by Schneider (Ibid., p. 206.).] [Footnote 17: Reichardt, Ueb. d. Com. Oper., p. 20.] [Footnote 18: "Operettas are the favourite pieces in Berlin, and cost a great deal of money," wrote Ramier to Knebel, in 1772 (Litt Nachl., II., p. 36). He paid the actors of the first parts one louis-d'or, of the second one ducat, and the rest two gulden for a first performance (Plümicke, Entwurf e. Theatergesch. von Berlin, p. 274).]