Mozart's facility of invention was so remarkably great that he can have had but little inducement to borrow from others. Plagiarisms occur but rarely in his works, but are on this account all the more interesting when they do occur. Take for instance the following passage from 'Ariadne of Naxos,' a duodrama by Georg Benda. It is composed to be played by the orchestra while Ariadne exclaims: "Now the sun arises! How glorious!" [Music] Mozart was in his youth a great admirer of this duodrama. He mentions in one of his letters that he carried its score constantly with him. The great air of the Queen of Night in 'Die Zauberflˆte,' Act 1, commences thus:-- [Music] It is, however, quite possible that Mozart had made Benda's work so thoroughly his own that he borrowed from it in the present instance without being aware of the fact. Again, Johann Heinrich Rolle published in the year 1779 an oratorio entitled 'Lazarus, oder die Feier der Auferstehung' (Lazarus, or the Celebration of the Resurrection). The second part of this oratorio begins with an introductory symphony, as follows:-- [Music] Perhaps Mozart was not acquainted with Rolle's oratorio when he wrote his overture to the 'Zauberflˆte,' in the year 1791. The curious resemblance in the two compositions may be entirely owing to the form of the fugue in which they are written. Moreover, the theme of Mozart's overture to the 'Zauberflˆte' resembles also the theme of a Sonata by Clementi which was composed ten years earlier than the overture. In Clementi's Sonata it is as follows:-- [Music] In the complete edition of Clementi's pianoforte compositions this Sonata is published with the appended notice that Clementi played it to the Emperor Joseph II. when Mozart was present, in the year 1781. Mozart appears to have been fond of the theme, for he introduces a reminiscence of it into the first movement of his Symphony in D major, dating from the year 1786. The first chorus in Mozart's 'Requiem' was evidently suggested by the first chorus in Handel's 'Funeral Anthem for Queen Caroline.' The _motivo_ of both is however an old German dirge dating from the sixteenth century, which begins thus:-- [Music: Wenn mein St¸ndlein vor-han-den ist, und soll hinfahrn mein Stras-se.] and which may have been familiar to Mozart as well as to Handel. The _motivo_ of the Kyrie Eleison in Mozart's 'Requiem:'-- [Music: Chri-ste e-le---- Ky-ri-e e-le--i-son! e-] occurs also in Handel's oratorio 'Joseph:'-- [Music: We will re- We will re-joice . . . &c. Hal-le-lu--jah! Hal----le-] and in Handel's 'Messiah:'-- [Music: And with his stripes we are heal-ed, And with His, &c.] Likewise in a Quartet for stringed instruments by Haydn, Op. 20, thus:-- [Music]