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[ I owe to the courtesy of Herr Reg. Lenz, of Munich, the original libretto with the dialogues in full, not abbreviated as they afterwards were for composition: "Idomeneo, dramma per musica, da rappresentarsi nel teatro nuovo di corte per comando di S. A. S. E. Carlo Teodoro, nel Carnovale, 1781" (Munich: Frz. Jos. Thuille.).]
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[ A regular finale to an opera seria was first introduced by Giov. Gammerra in his "Pirro" (1787); so says Manfiredini (Reg. Armon., p. 121), who disliked this mixture of styles.]
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[ ALoysia Weber was no longer in Munich; she had removed with her family to Vienna, where the good offices of the imperial ambassador, Count Hardeck, had procured her an engagement as prima donna. It is an error to suppose that this visit of Mozart to Munich had anything to do with his relations to Aloysia.]
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[ Similar stories were told elsewhere of the Maras (Cf. Forkel's Musik. Alman., 1789, p. 122; and the account of Mara in Zelter's Briefw. mit Goethe, III., p. 418; VI., p. 149).]
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[ "The accompaniment to the subterranean voices," writes Wolfgang (January 3, 1781), "is in only five parts, namely, three trombones and two horns, which proceed from the same place as the voices. The orchestra is silent at this place." This arrangement was not carried out without opposition from Count Seeau.]