[Footnote 19: Briefe e. Aufmerks. Reisenden, I., p. 147.] [Footnote 20: Briefe e. Aufmerks. Reisenden, II., p. 94. Burney, Reise, III., p. 46.] [Footnote 21: "Comic operas push out all tragedies and legitimate drama," complained Ramier in 1771 (Knebel, Litt. Nachl., II., p. 33). Boie writes to Knebel to the same effect in 1771 (Litt. Nachl., II., p. 108): "I do not like operettas. The taste which our public is developing for them threatens to extinguish all hope of the revival of true comedy." So also Schubart, Teutsche Chronik, 1774, pp. 349. 478; Knigge, Ephemer. d. Litt. u. d. Theat., 1785, II., p. 98.] [Footnote 22: A. M. Z., III., p. 327.] [Footnote 23: Lessing's Werke, XI., p. 152.] [Footnote 24: Weissc, Selbstbiogr., p. 103. Engel says the same in the preface to the "Apotheke," p. viII. Cf. Schmid, Das Parterr, p. 155.] [Footnote 25: Briefe eines Aufmerks. Reisenden, I., p. 141. Ueb. d. Com. Opera, p. 6. Cf. Mus. Kunstmag., I., p. 161. Geist des Mus. Kunstmag,, p. 94.] [Footnote 26: Riemer, Mitth., II., p. 111.] [Footnote 27: Riemer, Mitth., II., p. 194.] [Footnote 28: Goethe, Br. an Frau von Stein, III., pp. 181,191. Knebel, Litt. Nachl., I., P 149.] [Footnote 29: Riemer, Mitth., II., p. 192. Briefw. m. Zelter, II., p. 121.] [Footnote 30: Goethe, Werke, XXI., p. 6. Cf. Br. an Frau von Stein, III., p. 235.] [Footnote 31: Cf. Goethe, Briefw. mit Zelter, II., p. 121. Riemer, Mittheil., II., p. 292.] [Footnote 32: "Belmont und Constanze, oder die Entfuhrung aus dem Serail." Eine Operette. in drei Akten von C. F. Bretzner (Leipzig, 1781). A French adaptation, "L'Enlèvement" was made by Ch. Destrais, Strasburg, 1857.] [Footnote 33: Jul. André has lately published this interesting relic: duet, "Welch ängst-liches Beben," zur Oper "Die Entfuhrung aus dem Serail " von Mozart. Offenbach: André (389 K.).] [Footnote 34: Cramer, Magazin der Musik, II., p. 1057.] [Footnote 35: In Constanze's aria the words run:-- Mozart had previously written to his father (September 26, 1781): "! have altered Hui into schnell, thus: 'Doch wie schnell schwand meine Freude.' I do not know what our German poets are thinking of. Even if they do not trouble themselves to understand what is best fitted for dramatic or operatic treatment, they need not make human beings converse like pigs."] [Footnote 36: Reichardt finds special fault with the rhyming in his Briefe über die musikalische Poesie, p. 115 (an appendix to his pamphlet on the German Comic Opera, Leipzig, 1774).] "Doch im Hui schwand meine Freude Trennung war mein banges; Und nun schwimmt mein Aug' in Thränen Kummer ruht in meinem Schooss."]