[Footnote 34: "Don Giovanni" was performed fifteen times during this year. Lange's assertion, therefore, that it was withdrawn after the third representation rests upon an error. But after 1788 it was removed from the stage, and did not reappear until November 5, 1792, in a miserable German adaptation by Spiess. According to Da Ponte the Emperor exclaimed, after hearing "Don Giovanni": "The opera is divine, perhaps even more beautiful than 'Figaro.' but it will try the teeth of my Viennese." To which Mozart answered, on hearing the remark, "We will give them time to chew it." Joseph went into head-quarters on February 28, 1788, and did not return to Vienna till December 5 (Wien. Ztg., 1788, No. 18); he can only, therefore, have been present at the last performance of the year, on Dec. 15.] [Footnote 35: A. M. Z., XXIV., p. 284.] [Footnote 36: The different pieces are numbered in the same order in the announcement of the pianoforte score (Wien. Ztg., 1788, No. 42, Anh.).] [Footnote 37: Cramer, Magazin d. Mus., July, 1789, p. 47.] [Footnote 38: Cavalieri wished to sing it in E major instead of E flat major, and Mozart therefore made a transition into E at bar 19 of the recitative, and wrote over the air itself, "in E."] [Footnote 39: He first appeared at Easter, 1788, in the "Barber of Seville" (Wien. Ztg., 1788, No. 34, Anh.).] [Footnote 40: Journal der Moden, 1790, p. 50.] [Footnote 41: Schink, Dramaturgische Monate (1790), II., p. 320.] [Footnote 42: Schneider, Gesch. d. Berl. Oper, p. 59. A notice from Berlin in the Journal der Moden (1791, p. 76) says: "The composition of this opera is fine, although here and there it is very artificial, heavy, and overladen with instruments."] [Footnote 43: Chronik v. Berlin, IX., p. 132. Cf. XI., p. 878.] [Footnote 44: "Don Giovanni" was given five times within ten days.] [Footnote 45: Chronik v. Berlin, IX., p. 316.] [Footnote 46: Mus. Wochenbl., p. 158.] [Footnote 47: Mus. Monatsschr., p. 122.] [Footnote 48: Mus. Wochenbl., p. 19.] [Footnote 49: Jacobi wrote to Herder, in July, 1792: "We were terribly bored by yesterday's opera; it is an insupportable affair, this 'Don Juan'! A good thing that it is over." (Auserl. Briefw., II., p. 91.)] [Footnote 50: Briefw., 403,1., p. 432. Schiller had written (402, I., p. 431): "I have always had a certain amount of hope that the opera, like the choruses of the old hymns to Bacchus, would be the means of developing a nobler conception of tragedy. In the opera, a mere servile following of nature is forsaken, and the ideal, disguised as indulgence, is allowed to creep on the stage. The opera, by the power of music and by its harmonious appeal to the senses, attunes the mind to a higher receptivity; it allows of a freer play of pathos, because it is accompanied by music; and the element of the marvellous, which is suffered to appear in it, makes the actual subject a matter of indifference."] [Footnote 51: Bohemia, 1856, No. 23, p. 122.]