8 ([return])
[ Car. Pichler, Denkw., I., p. 103.]
9 ([return])
[ From Herder's Nachlass, III., p. 67.]
10 ([return])
[ The intellectual transformation which the French comedy underwent at Mozart's hands has often been insisted upon, e.g., by Beyle (Vies de Haydn, Mozart et de Métastase, p. 359), who, while recognising Mozart's excellence, is yet of opinion that Fioravanti or Cimarosa would perhaps have succeeded better in reproducing the easy cheerfulness of the original. Rochlitz also (A. M. Z., III., pp. 594, 595) and Ulibicheff (II., p. 48) appear to consider the remodelling of the piece as not altogether perfect. On the other hand, an enthusiastic article in the Revue des Deux Mondes (XVIII., p. 844, translated in A. M. Z., XLII., p. 589), extols Mozart as the master who has given to Beaumarchais' work that which Mozart alone could have detected in the subject of it, viz., poetry. Cf. Hotho Vorstudien fur Leben und Kunst, p. 69.]
11 ([return])
[ In the very characteristic and amusing duet for the two quarrelling women in Auber's "Maurer" the realism of the musical representation is of some detriment to the grace of expression and delivery.]
12 ([return])
[ He declares that he so astonished Casti and Paesiello by his power of mimicry that, although he was very young, they intrusted him with the difficult part of Gafforio in the "Re Teodoro," in which he made a great sensation (Remin., I., p. 241).]