52 ([return])
[ Salieri narrates that Gluck was dissatisfied with one part of his "Danaides" without knowing the reason why; after many repetitions he exclaimed at last, "I have it! the passage smells of music!" (Mosel, Salieri, p. 79).]
53 ([return])
[ The bravura part was originally extended into eleven bars (from bar 5, p. 153)f with the voices and instruments contending; the close was also longer, fifteen bars being inserted at p. 175, bar 7. Rochlitz asserts (A. M. Z., I., p. 145) that in later years Mozart undertook a searching revision of the "Entfuhrung," making numerous alterations, especially abbreviations. "I heard him play one of Constanze s principal airs, after twofold revision, and deplored some of the omitted passages. 'They may do for the piano,' said he, 'but not on the stage.' When I wrote that I was too fond of hearing myself, and did not know when to leave off." This is the only instance known of such hypercriticism on Mozart's part.]
54 ([return])
[ It has already been remarked that Mozart made use of a motif from "Zaide" for this air (Vol. II., p. 121).]
55 ([return])
[ Tieck, Dramaturg. Blatter, II., p. 315: "The duet is one which may draw tears from the eyes of the most insensible." Even Berlioz (X Travers Chants, p. 243) thought highly of it.]
56 ([return])
[ Cf. Lobe, A. M. Z., XLVIII., p. 537.]