[Footnote 9: It was repeated after the first performance, on January 28,30; February 7, 11. After the death of Joseph II. (February 20) the theatre was closed until April 12; Mozart's opera was given again June 6, 12; July 6, 16; Aug. 17; in all, therefore, ten times; then it was allowed to drop.] [Footnote 10: The first book of the words, "Cosi fan Tutte, osia la Scuola degli Amanti. Dramma giocoso in due atti, da rappresentarsi nel Teatro di Corte l' anno 1790," was shown to me by Sonnleithner.] [Footnote 11: In the original recitative (Act I., sc. 9), Trieste was written, and altered into Naples; Venezia is in the printed score.] [Footnote 12: The words with which Don Alfonso begins the second terzet-- "È la fede delle femine Come l' Araba fenice: Che vi sia, ciascun lo dice Dove sia, nessun lo sà"--are borrowed from Metastasio's "Demetrio" (Act II., sc. 3), and were composed by himself as a canon (where it runs, "La fede degli amanti, &c.). It is therefore an old familiar song that Alfonso sings to them.] [Footnote 13: According to the original score the march is first played by the orchestra alone, piano at the beginning, and _crescendo_ from the second part; at the repetition the chorus joins in _forte_.] [Footnote 14: This scene was originally introduced by a Cavatina for Despina; after the recitative is written, _Dopo la cavatina di' Despina._ Mozart afterwards crossed out these words, probably because a better place was found for Despina's air.] [Footnote 15: Schneider, Gesch. d. Oper, p. 61.] [Footnote 16: Schneider, Ibid., p. 76.] [Footnote 17: A. M. Z., XXVIII., p. 26. Berl. Mus. Ztg., III., p. 12.] [Footnote 18: A. M. Z., XXXIII., p. 550.] [Footnote 19: A. M. Z., XLVIII., p. 870.] [Footnote 20: A. M. Z., X., p. 409.] [Footnote 21: A. M. Z., XXV., p. 428.] [Footnote 22: A. M. Z., XXXIII., p. 222.] [Footnote 23: A. M. Z., XL., p. 440.] [Footnote 24: A. M. Z., VII., p. 240.] [Footnote 25: A. M. Z., XXXII., p. 375. Fr. Heinse, Reise-und Lebensskizzen, I., p. 183.] [Footnote 26: A. M. Z., XIV., p. 189. Cf. XVI., p. 154.] [Footnote 27: A.M.Z., XII., p. 500; XVI., p. 451.] [Footnote 28: A. M. Z., XVIII., p. 895.] [Footnote 29: A. M. Z., XIII., pp. 526, 720; XIX., p. 550; XXII., p. 813.] [Footnote 30: Pohl, Mozart u. Haydn in London, p. 146. Parke, Mus. Mem., II., p. 259.] [Footnote 31: A. M. Z., XLIV., p. 750.] [Footnote 32: The autograph score is arranged and written quite in Mozart's usual manner. The recitative of the scena (XI. and XII.), [the duet (29), completed by a strange hand, exists in Mozart's manuscript], the serenade (21), the accompanied recitative for Fiordiligi before the air (25), and the whole of scena (XIII.) of the second act, besides some extra sheets for the wind instruments, are wanting.]