[Footnote 20: A. M. Z., XXIV., p. 284.] [Footnote 21: She first appeared October 13, 1788, as Diana in Martin's "Arbore di Diana" (Wien. Ztg., 1788, No. 83, Anh.).] [Footnote 22: Wien. Ztg., 1789, No. 76, Anh., announces, "Neues Rondeau von Mme. Ferrarese aus Le Nozze di Figaro, Giunse alfin Rec. Al desio Rondeau." The air is published with the character given, "La Contessa," without any further intimation. Mozart's autograph has disappeared, but André has a copy of the air with the recitative from Mozart's remains, both marked for "Susanna." This increases the difficulty which exists respecting it (Sonnleithner, Recensionen, 1865, p. 721).] [Footnote 23: In the original score of "Figaro" the conclusion of the secco recitative is followed by the words, "Segue Recit. instrumental con Rondo di Susanna." The present garden aria could scarcely be called a rondo, and this probably refers to another air, the design of which was abandoned.] [Footnote 24: It is printed in a pianoforte arrangement among the songs (Ouvr., V., 20).] [Footnote 25: Written above it in a strange hand is, "Le Nozze di Figaro. 13 Atto 2do," and the cue, "e pur n' ho paura." Counting the pieces this air is in the second act, No. 13, in G major, like the preceding one; if it is assumed that the opera is divided into two acts, the garden air would be No. 13 in the second act. The cues are not to be found in both places, so that an alteration must have been made in the dialogue. The cue agrees in sense with the words of the Countess before the dressing song, ( Miserabili noi, se il conte viene).] [Footnote 26: In the original terzet, when the parts went together, the highest was given to the Countess; Mozart afterwards altered it, wherever dramatic expression allowed, so that Susanna should sing the highest part; this has necessitated trifling modifications here and there in the disposition of parts. This alteration was no doubt undertaken with a view to the singers. In the two finales their relative position was settled before he proceeded to the working-out.] [Footnote 27: According to Beyle, it is only in this duet that Mozart has rendered the character of French comedy, and even here he takes Figaro's jealousy too seriously (Vies de Haydn, Mozart et de Métastase, p. 361).] [Footnote 28: Cramer, Magaz. f. Mus., 1788, II., p. 48. She first appeared on September' 24, 1784, with success (Wien. Ztg., 1784, No. 79, Anh.), and she appeared again after a pause in "Figaro" (Wien. Ztg., 1786, No. 35, Anh.).] [Footnote 29: Berl. Mus. Ztg., 1793, p. 134.] [Footnote 30: Da Ponte, Mem., I., 2, p. 111; cf. p. 135.] [Footnote 31: The fragment of a sketch in score for this air is identical in the first division; the words "solo ai nomi d'amor, di diletto," are treated differently. A pianoforte arrangement of the air with violin accompaniment, entirely in Mozart's handwriting, is in Jules Andre's collection.] [Footnote 32: Dohrn, N. Ztschr. Mus., XL, p. 168.]