[Footnote 48: These are the beautiful air, "Per pietä non ricercate" 420 K.. part Si; the air written in 1785 for the oratorio "Davide Penitente " (469 K.. 61. "A te fra tanti attanni" and a grand air belonging to 1783 (431 K. part 3.) which is one of the most beautiful. It supposes a faithful lover awaking to find himself in prison, and expressing his surprise and anger in an agitated recitative, "Misero! O sogno!" In the andante, "Aura che intomo spin," his thoughts turn to his beloved one, for whom he is suffering; a simple and dignified cantilene, full of warm, deep feeling. The allegro, expressive of his horror at his position, is full of wild excitement and anguish. The whole song is simple and full of manly dignity without bravura, which seems to have been Adam-berger's peculiar style. The musical treatment is rich in interesting detail; the wind instruments--flutes, bassoons, and horns--are employed to give individual colouring.] [Footnote 49: This air was considerably abbreviated by Mozart. In the adagio there was originally a distinct middle movement following the second occurrence of the subject; it passed into the key of E flat major, and at the seventeenth bar closed in D minor, whereupon the first subject recurred. The allegro was also shortened.] [Footnote 50: This air also was considerably altered by Mozart.] [Footnote 51: The same may almost be said of the air "Tra le oscure ombre funeste," which Mozart composed in 1785 for Mdlle. Cavalieri in the oratorio, "Davide Penitente" (469 K., 8). The first movement is expressive of earnest feeling; the second has more of bravura.] [Footnote 52: Salieri narrates that Gluck was dissatisfied with one part of his "Danaides" without knowing the reason why; after many repetitions he exclaimed at last, "I have it! the passage _smells of music!_" (Mosel, Salieri, p. 79).] [Footnote 53: The bravura part was originally extended into eleven bars (from bar 5, p. 153)f with the voices and instruments contending; the close was also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a searching revision of the "Entfuhrung," making numerous alterations, especially abbreviations. "I heard him play one of Constanze s principal airs, after twofold revision, and deplored some of the omitted passages. 'They may do for the piano,' said he, 'but not on the stage.' When I wrote that I was too fond of hearing myself, and did not know when to leave off." This is the only instance known of such hypercriticism on Mozart's part.] [Footnote 54: It has already been remarked that Mozart made use of a motif from "Zaide" for this air (Vol. II., p. 121).] [Footnote 55: Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which may draw tears from the eyes of the most insensible." Even Berlioz (X Travers Chants, p. 243) thought highly of it.] [Footnote 56: Cf. Lobe, A. M. Z., XLVIII., p. 537.]