[Footnote 52: A. M. Z., XXXIX., p. 800.] [Footnote 53: A. M. Z., XL., p. 140.] [Footnote 54: A. M. Z., XXXIX., p. 810.] [Footnote 55: Castil-Blaze, L'Acad. Impér. de Mus., II., p. 98.] [Footnote 56: Castil-Blaze, Molière Musicien, I., p. 321. Cf. Siever's Càcilia, IX., p. 208. A. Schebest, a. d. Leben e. Künstlerin, p. 202.] [Footnote 57: Castil-Blaze, Molière Musicien, I., pp. 268, 323. L'Acad. Impér. de Mus., II., p. 241.] [Footnote 58: Leipzig, A. M. Z., 1866, p. 192.] [Footnote 59: "Don Juan," opéra en 2 actes et 13 tableaux. Édition du Théätre Lyrique.] [Footnote 60: Pohl, Mozart und Haydn in London, p. 149.] [Footnote 61: A. M. Z., XIII., p. 524. Stendhal, Vie de Rossini, p. 6.] [Footnote 62: A. M. Z., XIV., p. 786; XV., p. 531.] [Footnote 63: A. M. Z., XVI., p. 859.] [Footnote 64: A. M. Z., XVIII., p. 232.] [Footnote 65: A. M. Z., XX., p. 489.] [Footnote 66: A. M. Z., XXVI., p. 570.] [Footnote 67: A. M. Z., XXV., p. 639.] [Footnote 68: Scudo, Crit. et Littêr. Mus., I., p. 121. For similar remarks on an older Italian singer, see A. M. Z., XXV., p. 869.] [Footnote 69: Viardot, Manuscr. Autogr. du D. Giov., p. 10. It must be remembered that Rossini's arrival in Paris, in 1823, was the signal for a party warfare between the Mozartists and Rossiniists, similar to that waged by the Gluckists and Piccinnists. Cf. A. M. Z., XXV., p. 829.] [Footnote 70: Da Ponte, Mem., III., p. 43. Scudo, Crit. Littér. Mus., I., p. 178.] [Footnote 71: Castil-Blaze, Molière Musicien, I., p. 329.] [Footnote 72: Da Ponte, Mem., III., p. 54.] [Footnote 73: Da Ponte, Mem., III., p. 58.] [Footnote 74: Rochlitz, A. M. Z., I., p. 51.] [Footnote 75: E. T. A. Hoffmann's "Don Joan, eine fabelhafte Begebenheit, die sich mit einem reisenden Enthusiasten zugetragen," written in September, 1812 (Hitzig Hoffmann's Leben, II., p. 35), appeared in the first volume of his "Phantasie-stücke in Callot's Manier" (Bamberg, 1813). The novel and striking ideas contained in the article made a great impression at the time, and to Hoffmann is due the merit of adducing from the music the poetical and psychological truth of the opera.] [Footnote 76: I will here only mention H. G. Hotho, Vorstudien fur Leben und Kunst (Stuttgart, 1835), p. 1; Victor Eremita, Det Musikalsk-Erotiske, in Enten-Eller (Copenhagen, 1849), I., p. 25; and P. Scudo, Crit. et. Littér. Music., I., p. 150. Others will occur later on; but a compilation of all that has been written, to the purpose or not, on the subject of Don Juan would be a very tedious and not a very profitable labour.] [Footnote 77: The usual title of opera buffa is given to "Don Giovanni" by Mozart in his Thematic Catalogue; in the libretto it is called "dramma giocoso."]