of Mozart's opera--Its Teutonism--Otto Jahn's estimate--Papageno, the
German Punch--Emanuel Schikaneder--Wieland and the original of the
story of the opera--How "Die Zanberflote" came to be written--The
story of "Lulu"--Mozart and freemasonry--The overture to the opera--
The fugue theme and a theme from a sonata by Clementi--The opera's
play--"O Isis und Osiris"--"Hellish rage" and fiorituri--The song of
the Two Men in Armor--Goethe and the libretto of "Die Zauberflote"--
How the opera should be viewed.

Chapter IV "Don Giovanni"

The oldest Italian operas in the American repertory--Mozart as an
influence--What great composers have said about "Don Giovanni,"--
Beethoven--Rossini--Gounod--Wagner--History of the opera--Da Ponte's
pilferings--Bertati and Gazzaniga's "Convitato di Pietra"--How the
overture to "Don Giovanni" was written--First performances of the
opera in Prague, Vienna, London, and New York--Garcia and Da Ponte
--Malibran--English versions of the opera--The Spanish tale of Don
Juan Tenorio--Dramatic versions--The tragical note in the overture
--The plot of the opera--Gounod on the beautiful in Mozart's music
--Leporello's catalogue--"Batti, batti o bel Masetto"--The three
dances in the first finale--The last scene--Mozart quotes from his
contemporaries--The original close of the opera.

Chapter V "Fidelio"

An opera based on conjugal love--"Fidelio," "Orfeo," and "Alceste"--
Beethoven a Sincere moralist--Technical history of "Fidelio,"--The
subject treated by Paer and Gaveaux--Beethoven's commission--The
first performance a failure--A revision by the composer's friends--