50 ([return])
[ An excellent effect is given by the alternations of the keys of E flat major and C major in the second theme, and the interchange of clarinets and oboes connected therewith.]
51 ([return])
[ The tenor, Vincenzo Calvesi, who made his first appearance with his wife in April, 1785 (Wien. Ztg., 1785, No. 33, Anh.), is the same for whom, in 1785, the inserted piece, "Villanella rapita," was written (Vol. II., p. 331), and who, in 1786, took the part of one Antipholus in Storace's "Gli Equivoci," while Kelly took the other (Kelly, Reminisc., I., p. 237).]
52 ([return])
[ Bassi distinguished himself subsequently in Dresden in the part of Guillelmo (A. M. Z., X., p. 410; XIII., p. 730; XIX., p. 649).]
53 ([return])
[ Here again an alteration must have been made. The preceding recitative ended originally after Ferrando's words, "Dammi consiglio!" in C minor, whereupon the direction follows: Segue Varia di Guillelmo. Afterwards the two last bars were crossed out, and the recitative was continued on another sheet, as it is now printed, with the same direction at the end.]
54 ([return])
[ The repetition by the wind instruments of the passage of such irresistibly comic gravity—[See Page Image] is wanting in the original score, and is written by the hand of a copyist on a separate sheet for flutes and bassoons only; nor do the references appear to me to be by Mozart. The insertion, however, was unquestionably in accordance with his intentions.]