The Sun.
London, England, 1847-05-27 00:00:00

mentioning the name of every remarkableilffividual
in ancient or modern times, of positive existence or of
a merely supposititious existence, as in mythology,
naming merely the principal events in their careers,
the periods of their birth and death, and other simple
details. In the geographical department might be
comprised all the advantages of a gazetteer with divers
improvements, such as the result of the last census of
each town, the legislative influence possessed by its
inhabitants in sending a representative to the House
of Commons, or the Peninsular Cortes, or the French
Chamber of Deputies, or the Prussian Diet, or the
Roman Conclave, &c. In all essential respects as an
etymological and pronouncing dictionary the present
one is complete.

MOZART'S IL DON GIOVANNI."
Mr. Holmes, in his " Life of Mozart," gives the
following interesting history of the opera of Don
Juan:—
" His emotion at the reception of Figaro in Prague
was so great that he could not help saying to the
manager, Bondini, As the Bohemians understood
me so well, I must write an opera on purpose for
them.' Bondini took him at his word, and entered
with him on the spot into a contract 'to furnish his
theatre with an opera for the ensuing winter. Thus
was ( aid the foundation of II Don Giovanni. Hav-
ing now completed all his arrangements for Don
Giovanni, he set off on a second expedition to Prague,
accompanied by his wife. ,Not a note of the
music of his opera was yet upon paper, but he
had thoroughly digested the subject in his mind.
The original libretto, entitled, 11 dissolute punito
ossia Il Don Giovanni,' was adapted by Da Ponte
from the Spanish tale, El combidado de piedra,' of
Tirso de Molina ; and of all the dramatic subjects
treated by Mozart, this appears to have taken the 1
strongest hold on his imagination. From the
beginning to the end he has sustained it without a
symptom of fatigue. On reaching Prague, he first
took up his quarters at the inn called the Three Lions,
in the Coal-market ; but subsequently removed to his
friend Dussek's, who resided at a vineyard at Koschitz,
in the picturesque suburbs of the city. Here, on an
elevated site, which commanded a view of the antique
magnificence of Prague, its faded castles, ruined
cloisters, and other majestic remains of feudal times,
under the mild rays of an autumnal sun and in the
open air, Don Giovanni was written. Dussek's
house was a scene of great resort and revelry while
Mozart was his guest, and it is remembered that
there was often considerable playing at bowls in his
grounds. In the midst of all the talk and laughter
with which the amusement was attended, the com-
poser pursued his work; but rose from time to time,
when it came to his turn to take part in the
game. The original score of this opera is written
on various kinds of music paper, apparently the first
that came to hand. Nothing more happily illus-
trates the decision of Mozart, who never made
sketches, or retouched compositions ; though we now
and then find him improving a thought in the act of
writing. Ii Don Giovanni was finally completed,
excepting the overture, on the 28th of October, 1787,
about six weeks after Mozart's arrival at Prague.
The parts were given out to the singers as they were
finished, and the composer rehearsed them privately
with each, while the rest of his work was in course
of completion. A week only was left for stage re-
hearsals ; from which fact, much previous and a good
general notion of the business of the drama are to be
presupposed. In directing the first rehearsal of his
opera,
he was obliged to stop the orchestra at the
scene in the cemetery Di rider finirai," Ribald°
audace,' &c., as one of the trombone players did not
execute his part correctly. The scene was origin-
ally accompanied by three trombones only. As the
passage, after repeated attempts had no better suc-
cess, Mozart went to the desk of the player, and
explained to him that he would have it done.
The man, who was a crusty fellow, answered
with some rudeness It is impossible to play ;
and if I can't play it, I am sure you can't teach me.'
Heaven forbid; returned the composer, smiling, that
I should attempt to teach you the trombone; here,
give me your part, and I will soon alter it.' He did
so on the spot, and added two oboes, two clarionets,
and two bassoons. The coincidence of the modula-
tion in this celebrated scene, and of the oracle in the
Alceste of Gluck, is remarkable. Mozart has, how-
ever, strikingly improved upon his model, and in-
creased the solemn and unearthly effect of the voice of
the Commendatore, by terminating on the fifth of the
key. The original Zerlina of the opera was Signora
Bondini, daughter of the manager. In rehearsing
this part of the finale of the first act, where she is
seized by Don Giovanni, there was some difficulty in
getting her to scream in the right manner and place ;
it was tried repeatedly, and failed. At length Mozart,
desiring the orchestra to repeat the piece, went quietly
on the stage, and awaiting the time that she was to
make the exclamation, grasped her so suddenly and so
forcibly, that, really alarmed, she shrieked in good
earnest. He was now content. That is the way,' said
he, praising her, you must cry out just in that
manner.' He gave at this time a fresh instance of
his extraordinary memory. The drum and trumpet
parts to the finale of the second act of Don Giovanni
were written by him without the score, from mere
recollection. He brought them himself into the or-
chestra, and giving them to the players, said.
Pray, gentlemen, be particularly attentive at this
place,' pointing to one, ' as I believe that there are
four bars either too few or too many.' It proved to
be as he had said. The brass instruments have fre-
quently no place in the original scores of Mozart.
He wrote them continually on a separate paper,
carrying the composition in his memory at the time.
Everything went so smoothly and comfortably in
the production of this opera, that the time was one
of great enjoyment to the composer. At the conclu-
sion of the first rehearsal, he went out walking with
the organist and orchestra director, Kucharz. Among
other confidential talk, the discourse fell upon the new
opera ; and Mozart asked, What is your opinion of
of Don Giovanni. It is quite of a different character
to Figaro. Do you think that it will please as much ?'
On receiving an encouraging reply, he continued,
Your assurance quiets me ; it comes from a con-
noisseur. But, indeed I have spared neither labour
nor pains to produce something extraordinary for
Prague. It is a very great error to suppose that my
art has become so exceedingly easy to me, I assure
you there is scarcely any one who has so worked at
the study of composition as I have, You could hardly
mention any famous composer whose writings I have
not diligently and repeatedly studied throughout:
The time passed in festivities of various kinds, and the
composition of the overture to Don Giovanni was en-
tirely neglected until the night of the 3d November,
1787. This was the eve of his great triumph. A large
party was assembled at Dussek's, and Mozart was en-
joying himself with them, apparently thoughtless of
the overture. His friends, however, became uneasy, and
one of them said to him, Mozart, the first perform-
ance of Don Giovanni is to-morrow, and you have not
yet written the overture.' He appeared to consider
awhile, and about midnight retired to his apartment,
desiring his wife to make him some punch, and to
stay with him to keep him awake. Scblectegroll
thus records the circumstance, which has been con-
firmed by the widow herself. She accordingly be-
gan to tell him fairy tales, and odd stories, which
made him laugh till the tears came. The punch, how-
ever, occasioned such a drowsiness, that he could
she
only go on 'while his wife was talking; as
ceased, hedroppeadwaaskleeept.he The
continuedeffort
n wahl iteelrl he
soon
alternation i a
made
to a de
to keep himself of
sleep and watching so fatigued him, that his wife
persuaded him to take some rest, promising to awake
him in an hour's time. He slept so profoundly that
she suffered him to repose for two hour's. At five
o'clock in the morning she awoke him. He had ap-
pointed the music copiers to come at seven, and
by the time they arrived the overture was finished.
The overture was ready by the morning, but
the copyists were less diligent or less successful with
their work. The opera should have commenced at
seven in the evening, but there was no overture, and
the crowded theatre was kept waiting until a quarter
to eight, when the parts were hastily brought into the
orchestra covered with sand, and with them entered
Mozart, to take his place as conductor. His appear-
ance was greeted by the general applause of the
theatre,: and the unrehearsed overture was then com-
menced. During its performance the audience gave
many signs of renewed pleasure, which at length broke
out into a loud exclamation. When the curtain rose
and the first scene of the opera was going forward,
Mozart said to some of the musicians near him, "The
overture went off very well on the whole, although a
good many notes certainly fell under the desks."_ kie
was well acquainted with the talent ofthe
orchestra of Prague, and it is not unlikely
, that this most unusual exhibitionof an over-
ture
it. The original cast of
de-
signed compliment to i
ture played without a rehearsal wasl a
the characters were as follows :—Don Giovanni,
Signore Bassi ; Don Ottavio, Signor Baglioni ; Lepos
rello, Signor Felice Ponziani ; Don Pedro the com-
mandant and Masetto, Signor Lolli; Donna Anna,
Signora Saporiti; Donna Elvira, Signora Mecelli ;
Xerlina, Signora Bondini.
"Thus with no other inducement than love for his
art, and attachment and gratitude to his audience at
Prague, Mozart produced another great work, com-
bining the labour of the greatest melodist, sympho-
nist and master of dramatic expression ever united in
the same individual. Whether we regard the mix-
ture of passion in its concerted music, the profound
expression of melancholy, the variety its
adr of situations,
r of its
the beauty of its accompaniment, orthe eu
heightened and protracted scene of terrorgin the finale
of the second act, Don Giovanni stands alone in dra-
matic eminence. Of all musical romances it is cer-
tainly the first. received about one hundred
ducats for this opera—a slender consideration, which
was a little augmented by the sale of scores
to the theatres of Vienna and Warsaw ; but when he
found how badl his opera was got up at Vienna, he
N'rettroa that ids moesgties had Prevailed with him