an effect by a lively and exciting plot, by lavish decorations and costumes, and by political and philosophical allusions. The public was at first somewhat disappointed, and the music was considered inferior to that of the "Danaides," produced in 1774; but the extraordinary piece made in the end a great effect, and attracted large audiences.[26] The Emperor was exceedingly pleased with the music, and commissioned Da Ponte to prepare Italian words for it upon the occasion of the marriage of the Archduke Francis with the Princess Elizabeth. This Italian opera of "Axur" retained only the groundwork of the original, both the words and the music being completely remodelled. Da Ponte gave fresh proof of his dexterity, and Salieri, finding his task far more congenial than before, did not grudge the trouble of recomposition.[27] On January 8, 1788, the Festival opera "Axur" was performed as a "Freispektakel," the betrothal of the distinguished pair by the Archduke Maximilian having taken place on January 6.[28]At first the audience were somewhat taken aback by the traces of the French "Tarar" in the Italian "Axur," but very soon they felt the lively, brilliantly appointed plot, and the freer development of musical forms to be additional charms bestowed on the essentially Italian music. Several representations, following in quick succession, increased the favour in which this opera came to be held in Vienna,[29] especially by the Emperor Joseph,[30] and very soon on every stage in Germany.[31] The present, therefore, was no time for "Don Giovanni." Mozart catered for the amusement of the Viennese by the dances (534-536 K.), which he wrote in January, 1788, for the balls in the Redoutensaale, and he indulged his patriotic feelings by a song on the Turkish war, which Baumann sang at the theatre in the Leopoldstadt (539 K.). He {PERFORMANCE IN VIENNA, 1788.} (137) appears also to have given a concert during Lent, for which he wrote his pianoforte concerto in D major (537 K.). But Joseph II. commanded the production of "Don Giovanni," and there was no more to be said; it was given on May 7, 1788,[32] and was a failure. Everybody, says Da Ponte,[33] except Mozart, thought it a mistake; additions were made, airs were altered, but no applause followed. Nevertheless Da Ponte took Mozart's advice, and had the opera repeated several times in quick succession, so that people grew accustomed to what was unusual, and the applause increased with every representation.[34] The cast of the opera in Vienna was as follows:--[See Page Image] There was no reason, as will be acknowledged, to ascribe the tardy success of "Don Giovanni" to the inferiority of its performance.[35] Da Ponte appears also to have {DON GIOVANNI.} (138)