[Footnote 54: The repetition by the wind instruments of the passage of such irresistibly comic gravity--[See Page Image] is wanting in the original score, and is written by the hand of a copyist on a separate sheet for flutes and bassoons only; nor do the references appear to me to be by Mozart. The insertion, however, was unquestionably in accordance with his intentions.] [Footnote 55: In both versions, Guillelmo's air breaks off on the chord of the seventh, and is immediately followed by the terzet. At the beginning of the latter is written _ridono moderatamente (not fortissimo_).] [Footnote 56: Rochlitz, A. M. Z., III., p. 592.] [Footnote 57: This appears to be a later alteration. The preceding recitative ended originally at--[See Page Image] and the direction followed _Segue V aria di Don Alfonso;_ the d was crossed out, and attacca written against it. Even if Mozart did not look upon the ensemble as a regular quartet, he could scarcely have denominated it "Aria di Don Alfonso"; such an aria must therefore have been projected, and afterwards changed for the ensemble.] [Footnote 58: Rochlitz, A. M. Z., III., p. 593. Cf. Ambros, Culturhistor. Bilder., p. 191.] [Footnote 59: One can hardly credit Schroder's remark, on seeing the opera, rechristened by Stegmann "Liebe und Versuchung," May 1, 1791, at Frankfort: "Wretched! Even Mozart's music is only good in the second act." (Meyer, L. Schroder, II., i., p. 68.)] [Footnote 60: The minor key is employed only in Don Alfonso's caricatured air (5) in the poisoning scene of the second movement of the first finale, and very cursorily in Ferrando's air (27).] [Footnote 61: The change of key, simple though it is, is more marked than in the first finale of "Figaro " and "Don Juan." G minor follows D major, then E flat major, C minor, G major, then immediately B flat major, and again without transition D major.] [Footnote 62: The canon was originally more spun out, and Guillelmo, having vented his wrath in parlando, was to take up the theme against Dorabella; but Mozart rightly gave up the idea, and struck out the bars he had already written.] [Footnote 63: Cf. Gugler, Morgenblatt, 1856, No. 4, p. Si.] === MOZART 42 BY DAVID WIDGER CHAPTER XLII. LABOUR AND POVERTY. THE accession of Leopold II. to the Imperial throne (March 13, 1790) was not an event of good omen for music and the opera. Up to the month of July he had not entered the theatre, nor had any private concerts, nor {MOZART'S POSITION AT COURT, 1790.} (275)