[Footnote 37: It must be kept in mind that German operatic poets confined themselves to imitating Italian opera libretti, which were all cast in the same mould. Krause's pamphlet, highly esteemed by contemporaries, Von der musikalischen Poesie (Berlin, 1752) takes this for granted; Hiller (Ueber Metastasio, 1786, p.6) refers the German librettists to Metastatio; even Goethe, although in another way, endeavoured to form German vaudeville after an Italian type. Views of the subject, similar to those of Mozart and Reichardt, are carried out in detail in Cramer's Magazin der Musik, II., p. 1061.] [Footnote 38: Gluck's intentions were unquestionably the same. He warred against the mechanical formalism of musicians, and strove to free the composer from the fetters of form and make him a poet. But he was in some danger of going too far, and making the musician merely the interpreter of the poet.] [Footnote 39: Cf. Hanslick, Vom Musikalisch-Schönen, p. 27.] [Footnote 40: The same difficulty has led composers of the present day to write their own libretti. But it is not in nature that the highest aims can thus be attained. Burney quotes Metastatio's utterances on this point (Reise, II., p. 222). Cf. O. Jahn, Ges. Aufs. üb. Musik, p. 70.] [Footnote 41: Cf. Hanslik Vom Musikalisch-Schönen, p. 78.] [Footnote 42: Lessing has some excellent observations on the relations of music to poetry in the continuation of his Laokoon (Werke, XI., p. 153).] [Footnote 43: Hiller, Wochentl. Nachr., I., p. 256. Lebensbeschreibungen, I., p. 312. Reichardt, Ueb. d. Com. Oper, p. 8.] [Footnote 44: He was perfectly aware that comic opera must follow its own laws. "You cannot imagine,'' he wrote to his father (June 16,1781), "that I should write an opéra comique in the same style as an opera seria. Just as in an opera seria there must be a display of much learning and good sense, and very little playfulness, so in an opera buffa there must be very little display of learning and a great deal of playful merriment. It cannot be helped if people will have comic music in an opera seria; but there is a great difference. I believe that buffoonery is not quite rooted out of music yet; and in this case the French are right."] [Footnote 45: The autograph score of the "Entfùhrung" (384 K.), in three volumes (453 pages), was presented by Mozart to his sister-in-law, Madame Hofer, one evening when she had especially gratified him by her singing; it is now in the possession of Paul Mendelssohn-Bartholdv. of Berlin. Some of the odd sheets are in Andre's collection. Wolfgang writes to his father July 20, 1782: "You will find many erasures, because I knew that the score would be copied at once; so I let my ideas have free play, and made my alterations and abbreviations before sending it to the copyist."] [Footnote 46: The ancients indicated this distinction by the terms _pathos_ and _ethos_.] [Footnote 47: Meyer II. Schroder. I., p. 368 speaks of his nasal tones in the high notes.]