Ij'I.i428 APPENDIX IV.Küchel,62 Cassazione for 4 instrumentsUnknown.288 Divertimento for 2 violins, viola, bass, 2 horns .. ..I. 307 Fragmentary.206 March for 2 violins, viola, bass, 2 flutes, 2 oboes, 2 horns, trumpets 1 Fromand kettledrums .. .. .. .. .. .. .. ..j "Idomeneo"362 March for 2 violins, viola, bass, 2 oboes, 2 flutes, 2 horns, 2 clarinets, ) From2 bassoons, 2 trumpets, Icettledrums ) "Idomeneo."445 i March for 2 violins, viola, bass, 2 horns II. 211 Unknown.544 Short March for i violin, i flute, i viola, i horn, i violoncello1023634616111061233C046244647029337151440526844338610739554153154235400III. 216 Unknown.Movement <strong>of</strong> a Symphony for 2 violins, viola, bass, 2 oboes, 2 horns,2 trumpets . . . . . . . . . . . . . . . . . . Unimportant.Final Movement <strong>of</strong> a Symphony for 2 violins, viola, bass, 2 oboes, ) ,^^^ey/anjiHg' to1202 flutes, 2 horns, trumpets, kettledrums . . . . . . ..ja» Opera.163 Final Movement <strong>of</strong> a Symphony for 2 violins, viola, bass, 2 oboes,2 flutes, 2 horns, trumpets and kettledrums Incomplete.64' Minuet for 2 violins, 2 horns, bass291 Introduction and Fugue for 2 violins, 2 violas, bass, 2 horns, 2Unknown.flutes, 2 oboes, 2 bassoons . . . . . . Unfinished.32. . . . . . . .Galimathias Musicum for 2 violins, viola, bass, 2 oboes, 2 horns,bassoon 1,45 Sketch.103 Nineteen Minuets, with and without Trio, for 2 violins, bass, 2,oboes, and 2 horns, or, instead <strong>of</strong> oboes and horns, 2 flutes and 1trumpets . . . . . . . . . . . . . . . . 1. 297104 Six Minuets with Trio for 2 violins, bass, 2 oboes, 2 horns. . . . r Incomplete,105 Six Minuets with Trio for 2 violins, bass, 2 oboes, 2 horns, or, instead<strong>of</strong> the oboes, i flute .. .. .. .. .. .. 1. 297J122 Minuet for 2 violins, bass, 2 oboes, 2 horns !• 297164 Six Minuets with Trio for small orchestra .. .. ..1.297 Unknown.176 Sixteen Minuets with Trio for 2 violins, bass, 2 oboes, 2 horns1. 297 Doubtful.Three Minuets without Trio for 2 violins, bass, 2 oboes, 2 horns,2 bassoons, trumpets, and kettledrums . . . . . . . . . . Incomplete.Five Dance Minuets for 2 violins, bass, 2 oboes, 2 horns, 2 ) iVot in <strong>Mozart</strong>'sbasssons .. .. .. .. .. .. .. III. 218) list." Ein Deutscher" for 2 violins, bass, 2 flutes, 2 oboes, 2 bassoons,trumpets, and kettledrums III. 218 i AuthenticityThree Contredanses for 2 violins, 2 oboes, flute, 2 bassoons, 2 doubtful.horns, trumpets, kettledrums, bass|l.2gy)Contredanse for orchestra 1.297 Unknown.Gavotte for 2 violins, viola, bass, 2 oboes, 2 horns, 2 bassoons . . Lost.Six Contredanses for 2 violins and bassLost.Music to a Pantomime for 2 violins, viola, bass .. ..II. 305 Incomplete,Andante to a Concerto for violin. Accompaniment: 2 violins,viola, bass, 2 oboes, 2 horns .. .. .. .. II. 340 Unknown,Concerto for oboe. Accompaniment: 2 violins, viola, bass, 2clarinets, 2 horns, 2 bassoons . . . . . . . . . . . . Unfinished,Concerto Rondo for horn. Accompaniment: 2 violins, viola,bass, 2 oboes, 2 horns . . . . . . . . . . . . . . Unfinished.Rondo for horn. Accompaniment : 2 violins, viola, bass, 2 oboesIII. 129 Part <strong>of</strong> 412.Five Fugues from J. S. Bach's "Wohltemperirtes Clavier"(No. 2, 5, 7, 8 and 9) arranged for 2 violins, viola, and bass. . . . Transcription.T^^^^^^MovementiTrio for 2 violins and bass. B flat major I. 315 {Fugue for violin, viola, and violoncelloConcert Rondo for pian<strong>of</strong>orte. Accompaniment : 2 violins, viola,violoncello, bass, 2 oboes, 2 horns . . . . . . . . .Three Sonatas by Johann Bach, arranged as a concerto forUnfinished.Fragment.pian<strong>of</strong>orte, 2 violins, and bass . . . , . . . . . . . Transcription,Short Fantasia II. 448 Study.Six Variations on an Allegretto 1-304 Transcription.FugueUnfinished.FugueUnfinished.Canon. G major, § By Ph. E. Bach,First Movement <strong>of</strong> a Sonata II. 250 Unfinished.
;INDEX." ÄBRAAMO ED IsAACO," oratorio by Misliweczeck,I. 358.AccADEMiE, I. 105.Accompanied recitative, I. 161.AccoROMBONi, composer, III. 63.Account-book, musical entry in <strong>Mozart</strong>'s,II. 311-Actors and actresses in Vienna in 1781,II. i8g.Adagio in the symphony, growth <strong>of</strong>, I, 294.Adamberger, II. 173, 192; III. 51; sings nthe "Entführung," II. 195, 232.Adlgasser, Anton C, cathedral organist atSalzburg, I. ;239 his death, I. 407.Affligio, impresario in Vienna, I. 68, 72 ; histreachery, I. 73." Agnes Bernauer," opera performed bySchikaneder's company, III. 282.Agnus Dei in tlie Mass, 1. 251 ; in the Litany,I. 268.Agricola, Johann Friedrich, composer <strong>of</strong>" Semiramis," II. 105 ; kapellmeister inBerlin, IL 376, 378; his work on Song, II. 37g.Agujari, Lucrezia, " La Bastardella," I. 113.Albert, <strong>Mozart</strong>'s host in Munich, I. 351, 355.Albertarelli, Francois, bass singer,II. 429 et seq. ;in instrumentation, II. 431." Amadis," opera by J. C. Bach, II. 64.Amicis, M. a. de, prima donna, I. 143, 143." Amphion," opera by Naumann, III. 226.Andante in the symphony, growth <strong>of</strong>, I. 294andante not a slow tempo. III., 326 (note),32g (note).An der Wien, Schikaneder's theatre. III. 349.ANDRfi, H<strong>of</strong>rath, III. 3g4." Andromaque," opera by Gretry, II. 16.Anecdotes about De Amicis in " Lucio Silla,"I. 143 Tozi;and Countess Tbrring-Seefeld,I. 150 ;Madame Mara, II. 135 ; <strong>Mozart</strong> andthe Emperor Joseph II,, II. 212, 264, 337;III. 137; Gluck, 11. 235 (note); Hummeland <strong>Mozart</strong>, II. 280; <strong>Mozart</strong>'s "VogelStahrl," II. 3n; the " Bandl-Terzet," IL362 ;<strong>Mozart</strong>'s comic canons, II. 366 ; theoverture to "Don Giovanni," II. 414; intriguesagainst "Figaro," III. 67; <strong>Mozart</strong>and Teresa Bondini as Zerlina, III. 131;<strong>Mozart</strong> and the horn-player in " Don Giovanni,"III. 131 ; <strong>Mozart</strong> and the violinistBerger, III. 228 ; <strong>Mozart</strong> and the LeipzigIII.orchestra. III. 232; <strong>Mozart</strong> and the Berlinorchestra. III. 234; <strong>Mozart</strong> and LudwigTieck, III. 236 ;<strong>Mozart</strong> and Hummel, III.235; <strong>Mozart</strong> and the Frankfort organist,III. 278 ; <strong>Mozart</strong> and the actor Backhaus atMannheim, ibid ; <strong>Mozart</strong> and the old harpistH<strong>of</strong>fmann in Prague, III. 289 (note); Schenckand the first performance <strong>of</strong> the " Zauberflöte,"III. ;304 <strong>Mozart</strong> and Papageno'sbells. III. 339; illustrative <strong>of</strong> <strong>Mozart</strong>'s precociousgenius, I. 21, 22, 23, 27 ; his artlesssimplicity, I. 28, 35, 49; his affectionatedisposition, I. 49, 58; his childish dignity,I. 50; his organ-playing, I. 363, 385; hischange <strong>of</strong> feeling for Aloysia Weber, II. 84 ;his impatience <strong>of</strong> bad playing, II. 215 ; sociallife in Salzburg, I. 338, 366; the meanness<strong>of</strong> noble patrons <strong>of</strong> music, II. 294;<strong>Mozart</strong>'s musical memory, II. 337; his love<strong>of</strong> teasing, II. 337, 338; his veneration forHaydn, II. 347; his dilatoriness and readygenius, II. 356; his musical enthusiasm,II. 357; his improvising talent, III. 232;his energy in conducting. III. 232; hisgenerosity. III. 233 ; his friendly mannersto his orchestra. III. 277, 304.Anfossi, librettist <strong>of</strong> " La Finta Giardiniera,"I. 158, 210 ;composer <strong>of</strong> " II Curioso Indis-<strong>Mozart</strong>'s songs for him, II. ;334 sings in"Don Giovanni," III. 137.Albizzi, Bartolomeo, III. 378.creto," II. 326 ; <strong>of</strong> " Le Gelosie Fortunate,"Albrechtsberger, II. 277 (note); III. 357. 11.334."Alceste," opera by Gluck, I. 69; II. 25; Anonyme de Vaugirard defends Gluck,revised, II. 31, 33; influence <strong>of</strong>, on " II. 34.Idomeneo,"II. 163 ; on " Don " (38 K.) 1. 5g et seq."Apollo et HyacinthusGiovanni," Appony, Count, III. 218.III. 176, (note) performance <strong>of</strong>, in;Vienna, ARCHiTECTURE,comparison <strong>of</strong> music to, II. 22g.1781, IL 196.Arco, Count Karl, II. 64 his personal insult" Alcestis," opera by Wieland, ;I. 370.to <strong>Mozart</strong>, II. 185 ;<strong>Mozart</strong>'s threatenedAlessandri, composer. III. 22g.chastisement, II. 186,"Alexandre et Roxane," proposed opera Aria, rise <strong>of</strong> the, in opera seria, I., 160 et seq. ;by <strong>Mozart</strong>, 11. 46, 48.different kinds <strong>of</strong>, I. 162; Gluck's treatmentAllegro in the symphony, growth <strong>of</strong>, I. 294. <strong>of</strong>, II. 21.Alterations in operatic songs, by <strong>Mozart</strong>, Arioso, I. 161.Arithmetic, <strong>Mozart</strong>'s love <strong>of</strong>, I. 22, 106.Aristocracy, insolence <strong>of</strong> the French, II. 44." Armida Abbandonata," opera by DeRogatis, I. 124." Armide," opera by Quinault and Gluck,Gluck's own opinionII. 31; failure, II. 33;<strong>of</strong>, II. 33 (note)."Ariadne," musical melodrama by Brandesand Benda, II. 123 ;II. 74; reminiscence <strong>of</strong>in the " Zauberflöte," III. 333.Arnaud, supporter <strong>of</strong> Gluck and Gretry,11.17,32.Artim, Eleonore, afterwards Frau Schikaneder.III. 282.Artists and savants <strong>of</strong> Vienna, cir. 1780,II. 354 et seq."Ascanio in Alba," serenata by Parini and<strong>Mozart</strong> (in K.), I. 185 et seq.Aspelmeyer, composer, II. igo.Attwood, Thomas, <strong>Mozart</strong>'s pupil, II. 274,282 ;plans <strong>Mozart</strong>'s visit to England, IL 275.Auernbrugger, Dr., librettist, II. 192her at-Auernhammer, Frl. von, II. 173, 251 ;tentions to <strong>Mozart</strong>, II. 252, 253.2 F
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l^^SSSiSiSJSSSrS^^^SSJS!:^^^jMJ^mv-
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';ä«i,'1»
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LIFE OF MOZARTBYOTTO JAHN.TRANSLATE
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NEXTCHAPTER XXXIV.MOZART'S INSTRUME
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5 Nissen, Nachtrag, p. 62.B 2—;MO
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———QUARTETS, I785. 5biguous r
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MOZART'S AND HAYDN's QUARTETS. 7fea
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MOZART'S STRING QUARTETS. 9degree,
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—————SIX QUARTETS, I785.
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;SIX QUARTETS, I785. I3They are cas
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;LATER QUARTETS, 1786-1790. I5meet
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——TRIO IN E FLAT, I788. 17Duets
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—THE QUINTET.IQrenders all the mo
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——MOZART'S G MINOR QUINTET. 21i
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24 MOZART S INSTRUMENTAL MUSIC.Anot
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——20 MOZART'S INSTRUMENTAL MUSI
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28 Mozart's instrumental music.This
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—THE D MAJOR SYMPHONY. 31The tole
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—SYMPHONIES, 1788. 33without any
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—G MINOR SYMPHONY, I788. 35mind t
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C MAJOR SYMPHONY. 37keenness of exp
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SYMPHONIES. 39puntal elaboration, a
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THE RIGHT MEANING OF THE SYMPHONIES
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:THE OPERA IN VIENNA. 43composers (
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—DECLINE OF GERMAN OPERA. 45I oug
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—" DER SCHAUSPIELDIRECTOR," I786.
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—" DER SCHAUSPIELDIRECTOR," I786.
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REVIVAL OF ITALIAN OPERA, 1783. 5Iu
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——" l' oca del CAIRO," 1783. 53
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——;by the treatment of the deta
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'* l' oca del CAIRO," 1783. 57also
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—!" LO SPOSO DELUSO, 1784." 59fin
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—" LO SPOSO DELUSO," 1784. 61over
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" LO SPOSO DELUSO," I784. 63restora
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—CASTIDA PONTE. 65from Casti, " L
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—'ADAPTATION OF '' FIGARO," I785.
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—INTRIGUES AGAINST " FIGARO." 69b
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:PERFORMANCE OF " FIGARO. 71II Cont
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" LE MARIAGE DE FIGARO. 73play had
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BEAUMARCHAIS' "FIGARO." 75nounced h
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DA PONTE'S LIBRETTO. >]"]boxing his
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;worsted and disgraced.DA PONTE S L
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—MORAL TENDENCY OF FIGARO. ölThe
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MUSICAL TREATMENT OF THE DRAMA. 83w
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BASILIO. 85telling how he found the
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——FIGARO.^yideas are afterwards
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——:BARTOLO. 89opportunity of ve
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THE COUNT. 91the enchanting duet wi
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RONDO FOR SUSANNA. 93AI desio di ch
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Itbecomes all the more observable.
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CHERUBINO. 97excite her anger, and
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—32 Dohrn, N. Ztschr, Mus., XL, p
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ENSEMBLES.lOIments, but the musical
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FINALES. . 103mated variety, moving
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;FINALES. 105disposition of the cha
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THE SESTET.IO7son being transferred
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—;:TREATMENT OF THE VOICE PARTS.l
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THE ORCHESTRA.Illabstaining from ce
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—THE ORCHESTRA—OVERTURE. 113for
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"FIGARO AS AN OPERA BUFFA. II5porar
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—VIENNA, 1786. 117sity of feeling
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MUSIC IN BOHEMIA. II9the Bohemians,
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——;MADAME DUSCHEK. 121him. She
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—PERFORMANCE OF " FIGARO.I23were
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—CONCERTS AND COMMISSIONS, 125The
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—VIENNA, 1787—DITTERSDORF. I27i
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——COMPOSITIONS IN 1787. 129shar
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PERFORMANCE IN PRAGUE, 17S7. I3Ilov
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—)SUCCESS IN PRAGUE. I33the appoi
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SONG FOR MADAME DUSCHEK, 1787. I35s
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)—PERFORMANCE IN VIENNA, 1788. 13
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CRITIQUES ON " DON GIOVANNI.13gand
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'•":^^—CRITIQUES ON " DON GIOVA
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";STATISTICS OF PERFORMANCES.I43fir
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THE LIBRETTO.I45it not at all for V
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TIRSO DE MOLINA'S " CONVIDADO DE PI
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:TIRSO DE MOLINA'S " CONVIDADO DE P
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!—THE ITALIAN " CONVITATO DI PIET
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—MOLIERE'S "festin de PIERRE.I53r
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EON JUAN IN ENGLAND AND GERMANY. I5
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——GLUCK'S ballet, " DON JUAN."
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—GAZZANIGA's " CONVITATO DI PIETR
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DA PONTE'S LIBRETTO.l6lhis characte
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DA PONTE'S LIBRETTO. 163tance in di
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!'of justice, and begs his friends
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:GERMAN ADAPTATIONS. 167hero is con
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— ——THE OVERTURE. 169breeze,
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:LEPORELLO.I7Istriking as is his in
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THE SESTET LEPORELLO. I73sestet, ho
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DUET—LEPORELLO 175passage, wherei
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•THECOMMENDATORE. I77terror he ha
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—LEPORELLO—AIRS.I79as has his m
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THE RAPID PARLANDO.l8laudience to l
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DON GIOVANNI. 183terzet, again (Act
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DON GIOVANNI—AIRS. 185unbridled p
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;ZERLINA. 157maiden; and the little
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—MASETTOZERLINA. 189airs of Don G
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!—ELVIRA. 191not recognising her,
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'ELVIRA—TERZET.I93unmasks Don Gio
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ELVIRA—INSERTED AIR— FINALE.I95
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DON GIOVANNI S CHARACTER. ig/with n
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DONNA ANNA. 199unconscious exclamat
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—DONNAANNAOTTAVIO. 201chieg-go,wi
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—DONNA ANNAOTTAVIO.•203dispute
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—DONNAANNAOTTAVIO. 205churchyard
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—FIRST FINALE. 207when Zerlina as
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DANCES. 209are in a position to exp
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THE SECOND FINALE, 211which prepare
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THE SECOND FINALE. 213from the gloo
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——WORKS IN VIENNA, I788. 215of
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MASKED BALLS. 217converted into the
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"ARRANGEMENT OF HANDEL'S ORATORIOS.
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;ARRANGEMENT OF HANDEL'S ORATORIOS.
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THE " MESSIAH. 223portionate length
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ADAPTATIONS OF EARLIER WORKS. 225pu
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DRESDEN, 1789. 227phion," and in 17
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LEIPZIG— POTSDAM, 178g. 229risen
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;OFFER OF THE KING OF PRUSSIA.23IDu
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CONCERT IN LEIPZIG, I789. 233grown
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—LUDWIG TIECK AND MOZART. 235thea
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—WORKS IN VIENNA, 1709. 237CHAPTE
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—CHARACTERS AND PLOT. 239FiordiUg
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LIBRETTO. 241love. Don Alfonso, ent
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22A. M. Z., XXXIII., p. 222.R 2—P
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ALTERATIONS IN THE LIBRETTO. 245pos
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CRITICISM OF THE LIBRETTO. 247(whos
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THE MUSIC ENSEMBLES."249opera affor
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adieux from the shore, while Don Al
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——DORABELLA. 253part and the mo
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FERRANDO. 255is induced by her more
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—FERRANDO—GUILLELMO. 257his arm
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I^HII—GUILLELMO S AIR. 259tre^a p
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GUILLELMO. 201assurance of Fiordili
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——DESPINA. 263boastful loquacit
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—DON ALFONSO. 265no grand air is
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II 11,^^^i"^—IJI'II1 1 1THE OVERT
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1——THE FIRST FINALE. 269duet fo
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THE SECOND FINALE.27Ipredominated i
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GENERAL CRITIQUE. 273after the same
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MOZART S POSITION AT COURT, 179O. 2
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EXPEDITION TO FRANKFORT, 179O. 277I
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'"The lateRETURN JOURNEY TO VIENNA,
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—!!!!—BADEN, 1791STOLL. 281the
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—SCHIKANEDER. 283irretrievably in
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—COMPOSITION OF THE " ZAUBERFLOTE
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COMMISSION FOR THE REQUIEM. 287no e
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—FIRST PERFORMANCE OF "TITUS," 17
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PLOT OF TITUS. 29!Vitellia, daughte
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—"TITUS —OVERTURE— ENSEMBLES.
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" TITUS — SEXTUS. 295him one glan
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*' TITUS " VITELLIA. 2g7and even th
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" TITUS —ENSEMBLES. 299farewell o
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CRITICISMS ON "TITUS." 3OIIn brilli
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:^—DRAMATIS PERSONS. 303young man
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—"OBERON — "lulu. 305Schikanede
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THE LIBRETTO—RIVAL THEATRES. 307N
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" KASPAR DER FAGOTTIST. 3O9supper b
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———THE LIBRETTO.3IIher mother
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———THE LIBRETTO. 313silence u
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sfpII——ITHE OVERTURE. 315we thi
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—THE OVERTURE. 317intended to be
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—ACH GOTT VOM HIMMEL,3^9require i
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—TAMINO. 321groundwork for the lo
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CHORUSES. 323into closer contact wi
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intense sympathy of the firstSARAST
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—TAMINO. 327Sarastro's good tempe
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PAMINA. 329initiation into the myst
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——PAMINA—TERZET.33IPamina, in
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——rTHE QUEEN OF NIGHT. 335deepl
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THE THREE LADIES, 335only do we fin
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f——THE MOOR— PAPAGENO. 337sam
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—Ztg., 1793, p. 151)-Z 2PAPAGENO.
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——LOVE OF MAN AND WIFE.34Isugge
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ENSEMBLES. 343fail to appear in the
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FANTASTIC AND MYSTIC ELEMENTS. 345a
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;THE ORCHESTRA. 347form the basis o
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'*Zauberflöte." ''^PERFORMANCES AN
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PERFORMANCES AND IMITATIONS. 351oth
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SAD FOREBODINGS. 353afterwards how
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—;SERIOUS ILLNESS. 355winter supp
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THE END. 357tongue— I taste death
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INTERMENT AND GRAVE. 359as he was,
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—COMPLETION OF THE REQUIEM. 361re
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;süssmayr's work. 363He had not se
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süssmayr's work. 36:no longer be a
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PUBLICATION.3Ö7score note for note
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süssmayr's share in the work. 369A
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KYRIE— INTROITUS. 371time much fr
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KYRIE. 373could have written such "
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—HANDEL'S INFLUENCE. 375been quit
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- Page 415 and 416: MARIANNE MOZART. 403gang's correspo
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