Life of Mozart

;432 INDEX.Dalberg, Heribert von, establishes nationaldrama in Mannheim, II. 73 commissionsMozart ; to write a melodrama, 11. 74.Dal Prato, male soprano in Munich, II. 133,146.Dance music in "Figaro," II. gg; Mozart'sdance music, see Works.Danchet, author of the original" Idomeneo,"II. 127.Dancing, Mozart's love of, II. 303, 304.Danner, Christoph, violinist, I. 381.Danzi, Franciska, afterwards Madame LeBrun, I. 374.Da Ponte, Lorenzo, theatrical poet. III. 52,64 ;writes the libretto for " Figaro," III. 66et seq." Das Verstellte Gärtner Mädchen,"I. 213." Davidde Penitente," Mozart's oratorio,11.399-Davis, Miss, I. 146.Dauer, tenor singer, II. ig2.Death, Mozart's views on, II. 323.Deathbed, Mozart's, III. 356, 357.Debts, Mozart's, II. 301, 302.Deiner, Joseph, innkeeper, assists Mozart,11.300; 111.355,357.De Jean, M., Mozart's compositions for, inMannheim, I. 3g8, 413."Dell' Anima e del Corpo," oratorio byCavalieri, I. 155, 193." Democrite Corretto," opera by Dittersdorf,III. 128.Denis's Ode on Gibraltar, composed byMozart, II. 370.Depression, Mozart's nervous. III. 353 et seq." Der Hausfreund," German opera, II. igo." Der Lustige Schuster," German operetta,II. 216." Der Spiegel von Arkadien," opera bySüssmayr, III. 388.Descriptive music in "König Thamos,"II. 105 et seq.Desmarets, French operatic composer, 11. 5." Devil to Pay," Coffey's, German adaptationof by Von Barck and C. F. Weisse,II. 216, 217."Devin du Village," J. J. Rousseau's; itsperformance and popularity, I. 87; plot, I.88; imitations, I. 89; parody, by MadameFavart, I. 8g ;Weiskern's translation, I. 90 ;Mozart's music, I. 91 et seq.Diderot supports Italian opera in Paris,II. 9, 10 (note)." DiDONE," Jomelli's, I. 374." Die Apotheke," German opera by Umlauf,II. 190." Die Bergknappen," German vaudeville byWeidmann and Umlauf, I. 406 ; II. igo"Die Entführung aus dem Serail," operaby Mozart, II. 194 et seq. ;first performance,II. 2og ;performances at Prague, Leipzig,Mannheim, &c., II. 214; plot and analysis,II. 222 et seq.; Mozart's alterations in, II. 224;his remarks on, II. 226; German elementin, II., 231 ;influence of Mozart's personalfeelings on, II. 249."Die Gärtnerin aus Liebe," I. 213." Die Kinder der Natur," German operaby Aspelmeyer, II. igo." Die Liebe auf dem Lande," Germanopera by Hiller, II. 217."Die Liebe im Narrenhause," opera byDittersdorf, III. 128." Die Pilgrimme von Mekka," by Gluck,II. 192."Die Unruhige Nacht," German opera byGassmann, III. 43, 44,Dies ir« in the Requiem, III. 378 et seq," Diesmal hat der Mann den Willen,"German opera by Ordonnez, II. 190.Di MEZZO carattere parts, I. 207.Diminuendo, orchestral, first used in Mann-»heim, I. 37g." Dirge on the Death of Queen Caroline,"reminiscence Of the, in the Requiem,III. 374-Dissipation, Mozart's reported, 11. 302 et seq,Dittersdorf, his complaint of Mozart's prodigalityof ideas, 11. 454; popularity inVienna,III. 127; success in Berlin, III. 236 ; comparisonof Haydn and Mozart to Klopstockand Geliert, III. 3.Divertimento (cassationi), I. 304 et seq." Doktor und Apotheke," Opera by Dittersdorf,III. 127.Doles, Precentor, Mozart's comic canon forhim, II. 366 ;in Leipzig, III. 228,Dona nobis pacem, general character of,in the Mass, I. 251." Don Giovanni, opera by Da Ponte andMozart, II. 414; 4Z2, 428, 431, 433; III. iz6et seq. ; overture, II. 414; III. 132; performancein Prague, III. 133 ; in Vienna, III.137; statistics of performances. III. 142;unpopularity in Italy, III. 143; Rossini'sopinion of. III. 144, 168 (note); performancein New York, III. 144 ;analysis of libretto,III. 160 et seq. ;German adaptations, III.167; analysis of music, III. 168 et seq.; theopera characteristically Italian, III. 180various conclusions, III. 212, 213 comparisonwith " Figaro," III. 214.;Don Juan Tenorio, legend of, in differentversions. III. 146 et seq. ; 155 et seq.Dorimon, author of " Le Festin de Pierre,"III. 151." DovE soNO," suggestion of, in an AgnusDei (317 K.), I. 267.Dramatic element predominant in Frenchopera, IL 4.Dramas, musical, II. 104 et seq.Drawing, Mozart's talent for, II. 319, 320.Dress, Mozart's love of, II. 302, 303.Dubreil, violinist, I. 355.Duet, its origin in opera seria, I. 161.DuNi, I. 158.DuPORT, kapellmeister in Berlin, III. 22g, 230,Durante, Francois, I. 158.Duschek, Franz, befriends Mozart in Prague,III. 121, 130.Duschek, Josepha, scena, " Ah, lo previdi,"composed for her, I. 234; III. 69 ; shebefriends Mozart in Prague, III. 122; contemporaryaccounts of her talent and character,III. 121 ;Mozart composes " Bella miafiamma" for her. III. 135; visits her inDresden, III. 226.Eckart, I. 36.Elector of Bavaria, Clemens, I. 48, 392.Elector Palatine, Karl Theodor, 1. 368;his love of music, I. 382 holds out hopes of;service to Mozart, I. 391 et seq. ;finally disappointshim, I. 397.Encores in " Figaro "forbidden by Joseph II.,III. 71.England, Mozart's projects of revisiting,11.274,275; III. 118,285.English, Mozart's study of, II. 273.Ensembles, treatmentof, in" Figaro,"III. 100et seq."Ernelinde," opera by Philidor, II. 57.EssER, violinist, L. Mozart's opinion of, I.321 ; Wolfgang's boyish criticism of, ibidEsser's remarks on " Idomeneo," II. 138.