[Footnote 4: In Paris (in 1793) the unfortunate idea was conceived of performing Mozart's music with Beaumarchais' complete dialogue (Castil-Blaze, L'Acad. Imp. de Mus., II., p. 19). Beaumarchais was pleased with the representation, though not with the adaptation (Lomenin, Beaumarchais, II., p. 585). A notice of the performance says: "The music impressed us as being beautiful, rich in harmony, and artistically worked out. The melodies are pleasing, without being piquant. Some of the ensemble movements are of extreme beauty."] [Footnote 5: Schneider, Gesch, d. Oper in Berlin, p. 59.] [Footnote 6: Aus einer alten Kiste, p. 177. Meyer, L. Schroder, II., p. 55.] [Footnote 7: Sainte-Beuve, Causeries du Lundi, VI., p. 188.] [Footnote 8: Car. Pichler, Denkw., I., p. 103.] [Footnote 9: From Herder's Nachlass, III., p. 67.] [Footnote 10: The intellectual transformation which the French comedy underwent at Mozart's hands has often been insisted upon, e.g., by Beyle (Vies de Haydn, Mozart et de Métastase, p. 359), who, while recognising Mozart's excellence, is yet of opinion that Fioravanti or Cimarosa would perhaps have succeeded better in reproducing the easy cheerfulness of the original. Rochlitz also (A. M. Z., III., pp. 594, 595) and Ulibicheff (II., p. 48) appear to consider the remodelling of the piece as not altogether perfect. On the other hand, an enthusiastic article in the Revue des Deux Mondes (XVIII., p. 844, translated in A. M. Z., XLII., p. 589), extols Mozart as the master who has given to Beaumarchais' work that which Mozart alone could have detected in the subject of it, viz., _poetry_. Cf. Hotho Vorstudien fur Leben und Kunst, p. 69.] [Footnote 11: In the very characteristic and amusing duet for the two quarrelling women in Auber's "Maurer" the realism of the musical representation is of some detriment to the grace of expression and delivery.] [Footnote 12: He declares that he so astonished Casti and Paesiello by his power of mimicry that, although he was very young, they intrusted him with the difficult part of Gafforio in the "Re Teodoro," in which he made a great sensation (Remin., I., p. 241).] [Footnote 13: Berl. Mus. Ztg. 1793, p. 138.] [Footnote 14: Bussani, who sang Bartolo and Antonio, had been in the Italian Opera in Vienna in 1772 but left it the following year. He was noted for his "resonant barn voice" (Müller, Genaue Nachr., p. 73).] [Footnote 15: Kelly, Reminisc., I., pp. 121, 196.] [Footnote 16: P. Scudo, Musique Ancienne et Moderne, pp. 22, 23.] [Footnote 17: Thus in Bartolo's air the close juxtaposition of major and minor at the words "è bassezza è ognor viltà," exactly expresses the intensification of his feeling of annoyance.] [Footnote 18: Rochitz, A. M. Z., III., p. 595.] [Footnote 19: A hasty sketch of the voice part shows only trifling alterations in the later melody. It is noteworthy that Mozart made many attempts before hitting upon a satisfactory conclusion.]