18 ([return])
[ Lessing, Hamb. Dramat. St., 26 (Werke, VI., p. 115).]
19 ([return])
[ Betracht. d. Mannh. Tonsch., I., p. 313; III., p. 253.]
20 ([return])
[ "Haydn's entr'actes (to 'Zaire') are really fine," writes L. Mozart (October 6, 1777). "One of them was an arioso with variations for violon-celli, flutes, oboe, &c., and next after a piano variation came one with Turkish music so suddenly and unexpectedly that all the women started, and there was a general titter. Between the fourth and fifth acts was a cantabile with recitatives for the English horn, and then the arioso again, which accorded very well with the sadness of the preceding scene and with the following act.">[
21 ([return])
[ It might be supposed that the overture before mentioned (Vol. II., p. 86) was intended for this play, and the date of the composition agrees with this supposition. But the paper differs from that of the other instrumental movements, and Mozart was exact and careful in these matters. Something also of the solemn dignity characteristic of the choruses might be looked for in an overture to "König Thamos"; in other respects it is not unsuitable.]
22 ([return])
[ The usual Salzburg orchestra is kept in view for these movements: strings, oboes, bassoons, and horns; and for the three entr'actes (I., IV., V.), trumpets and drums.]