[Footnote 115: Schmid, Gluck, p. 83. Castil-Blaze conjectures (I., p. 265) that this ballet was written in Parma, in 1758. Sara Goudar, in her Remarques sur la Musique Italienne et sur la Danse (Paris, 1773), writes about Gluck: "Gluck, Allemand comme Hasse, l'imita [Jomelli]; quelquefois même le surpassa, mais souvent il fit mieux danser que chanter. Dans le ballet de Don Juan, ou Le Festin de Pierre, il composa une musique admirable" (Ouvr. Mèl., II., p. 12). Printed before Wollank's pianoforte score, and in Lobe's Flieg. Blàtt. f. Mus., I., p. 122.] [Footnote 117: A ballet, "II Convitato di Pietra," was given in Naples in 1780 (Signorelli, Stor. Crit. d. Teatri, X., 2, p. 172).] [Footnote 118: This opera was also performed in Braunschweig in 1782 (Cramer, Mag. f. Musik, I., p. 474).] [Footnote 119: The book of the words printed in Vienna has on the title-page "da rap-presentarsi ne' teatri privilegiati di Vienna l' anno 1777.] [Footnote 120: Castil-Blaze, I., p. 267.] [Footnote 121: Goethe, Briefw m. Zelter, II., p. 160.] [Footnote 122: Musik. Monatschr., p. 122.] [Footnote 123: Da Ponte, Mem., II., 1, p. 28.] [Footnote 124: The manuscript (perhaps autograph) in the archives of the Society of Musicians in Vienna bears the title, "ü Convitato di Pietra, Atto solo del Sgr. Giuseppe Gazaniga. In S. Moisè, 1787." The greater part of the recitative, five pieces in score, and four airs with voice part and bass, are preserved.] [Footnote 125: Recensionen, 1860, No. 38, p. 588.] [Footnote 126: The fact of her non-reappearance is proved by the same singer taking the part of Maturina.] [Footnote 127: Here, doubtless, was inserted the quartet, "Non ti fidar o misera," composed by Cherubini for the performance in Paris in 1792 (Scudo, Crit. et Litt. Mus., I., p. 181). Not. de Manuscr. Autogr. de Cherubini, pp. 12, 101.] [Footnote 128: For a performance at Ferrara, Ferrara is substituted for Venezia.] [Footnote 129: _Atto solo_ is on the title-page instead of secondo, which is struck out; on the second scene is _Atto secondo_, and the finale is superscribed _Finale secondo._ On the other hand, the scenes are continuously numbered from 1 to 24. I can only suppose that an earlier version has been abridged for representation.] [Footnote 130: A "Don Giovanni" ascribed to Cimarosa is the result of a mistake; his opera, "ü Convito," composed in 1782, is an adaptation of Goldoni's "Festino," and has nothing to do with Don Juan (Castil-Blaze, p. 267).] [Footnote 131: When Sonnleithner had succeeded in obtaining the books of the words printed for the first performances in Prague and Vienna, he published a reprint of the first with the alterations and omissions of the second, together with all the scenic remarks written by Mozart on his score. "ü Dissoluto Punito, ossia il Don Giovanni. Dramma giocoso. Poesia di Lorenzo da Ponte." Leipzig, 1865.] [Footnote 132: I have, unfortunately, been unable to obtain Zamora's drama.]