[Footnote 44: "Oh, how inexpressibly I prize and honour Mozart," says Richard Wagner (Oper u. Drama, I., p. 54), "in that he found it impossible to write the same kind of music for 'Titus' as for 'Don Juan,' for 'Cosi fan Tutte' as for 'Figaro' I How music would have been debased thereby! A sprightly, frivolous poet handed him his airs, duets, and ensembles to compose, and according to the warmth with which they inspired him, he set them to the music which would endow them with the fullest amount of expression that they were capable of." Hotho (Vorstudien f. Leben und Kunst, p. 76) is of opinion that in "Cosi fan Tutte" the female parts are thrown into the shade by the male, while the contrary is the case in "Figaro" and "Don Giovanni," and accounts for this fact by saying that Mozart was always attracted by that side of his subject which was mostly suggestive of melody.] [Footnote 45: It is advertised in the Wien. Ztg., 1790, No. 16, Anh., as the most beautiful duet of the new opera.] [Footnote 46: Da Ponte, Mem., II., pp. 108,117.] [Footnote 47: Parke, Mus. Mem., I., p. 48.] [Footnote 48: The first part was originally given to Dorabella, the second to Fiordiligi, as far as the first finale; this was afterwards altered by Mozart. It can only have arisen from an exchange of names, for that the first part was always intended for Ferraresi is clear from the manner in which the low notes are made use of, evidently to suit her voice.] [Footnote 49: It is suggestive for the execution that _lietissimo_ is the direction at the beginning of the voice part.] [Footnote 50: An excellent effect is given by the alternations of the keys of E flat major and C major in the second theme, and the interchange of clarinets and oboes connected therewith.] [Footnote 51: The tenor, Vincenzo Calvesi, who made his first appearance with his wife in April, 1785 (Wien. Ztg., 1785, No. 33, Anh.), is the same for whom, in 1785, the inserted piece, "Villanella rapita," was written (Vol. II., p. 331), and who, in 1786, took the part of one Antipholus in Storace's "Gli Equivoci," while Kelly took the other (Kelly, Reminisc., I., p. 237).] [Footnote 52: Bassi distinguished himself subsequently in Dresden in the part of Guillelmo (A. M. Z., X., p. 410; XIII., p. 730; XIX., p. 649).] [Footnote 53: Here again an alteration must have been made. The preceding recitative ended originally after Ferrando's words, "Dammi consiglio!" in C minor, whereupon the direction follows: _Segue Varia di Guillelmo_. Afterwards the two last bars were crossed out, and the recitative was continued on another sheet, as it is now printed, with the same direction at the end.]