49 ([return])
[ Indescribably beautiful is the occurrence here of the chord of the minor sixth on G, instead of the minor common chord which one expects.]
50 ([return])
[ The close in D minor of the movement in G minor appeared so striking to Schwencke (A. M. Z., IV., p. 11), that he conjectured that Mozart must have intended a further revision of these choruses. But the different movements of the Sequence, although detached, are yet in immediate relation with each other; and Mozart made the transition into D minor because the following movement is in F major.]
51 ([return])
[ Hogarth, Mem. of the Opera, II., p. 199.]
52 ([return])
[ G. Weber could not bring himself to attribute to Mozart a treatment which "emphasises, con amore, the egotistical baseness of the words, and by the ferocious unison of the stringed instruments maliciously incites the Judge of the World to hurl the cursed crowd of sinners into the deepest abyss, and then to call the singers to all the joys of the blessed" (Càcilia, III., p. 220). He has clearly misunderstood both the words and the intention of the composer so to bring before the imagination the torments of the damned as to lead to an intenser longing for the mercies of Redemption.]
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[ Cäcilia, III., p. 222.]