[Footnote 33: The duet has undergone three unnecessary abbreviations in the printing. The sketch of a few bars to serve as an introduction to another duet has the superscription "Atto 2do, Scena 3, invece del Duetto di Susanna e Cherubino." This was apparently never continued.] [Footnote 34: This connected construction of the different sections of the finale is seldom found; they are generally merely successive scenas, as, for instance, in Casti's "Re Teodoro."] [Footnote 35: Mozart has written above it, "Andante di molto," and not "Andante con moto" as it is printed; and it may further be noted that Susanna comes out of the closet "tutta grave."] [Footnote 36: Holmes says (Life of Mozart, p. 269) that Mozart wrote this finale in two nights and a day, without stopping; in the course of the second night he became unwell, and was obliged to desist when there only remained a few pages to instrumentalise.] [Footnote 37: Zelter, Briefw. m. Goethe, V., p. 434.] [Footnote 38: Basilio and Don Curzio being intrusted to one singer, as well as Bartolo and'Antonio, the score contains the names of the four characters, but only two musical parts; supernumeraries were brought on the stage in similar costumes when required.] [Footnote 39: Kelly, Reminisc., I., p. 260.] [Footnote 40: At first he gave Susanna's charming melody to the bassoon and flute as well, but afterwards struck out both instruments, in order to allow the voice full play. The instrumentation throughout the sestet is very moderately treated.] [Footnote 41: Kelly, Reminisc., I., p. 260.] [Footnote 42: The running passages at the close of the air for the Countess (Act III., 2) were not originally written by Mozart, but were added later, probably at the wish of the singer.] [Footnote 43: Cf. Kossmaly to Ulibicheff, Mozarts Opern, p. 368.] [Footnote 44: This exquisite touch is completely lost in the German translation, where the Countess only begins to dictate after the ritornello.] [Footnote 45: A writer in the Deutsch. Mus. Ztg., 1862, p. 253, conjectures that an orchestral piece in D minor (101, Anh., K.) included among Mozart's remains, but unfortunately lost, may have been this middle movement.] [Footnote 46: The Emperor Joseph's remark has been already mentioned. Carpani (Le Haydine, p. 49; cf. p. 35) is of the same opinion. Grétiy's shrewd criticism in answer to a question by Napoleon: "Cimarosa met la statue sur le théätre et le piédestal dans l'orchestre; au lieu que Mozart met la statue dans l'orchestre et le piédestal sur le théätre," has been justly praised by Fétis (Biogr. Univ., IV., p. 106).] [Footnote 47: Carpani, Le Haydine, p. 202. Beyle, Vies de Haydn, Mozart et de Métastase, p. 362. Stendsal, Vie de Rossini, p. 40.] [Footnote 48: Südd. Zeitg. f. Mus., 1861, p. 24.] [Footnote 49: H. Berlioz (Voy. Mus., II., p. 267) characterises Mozart as the master who, above all others, followed in Gluck's footsteps.] [Footnote 50: Tieck, Dramaturg. Blatter, II., p. 325.]