Mike Leghorn writes:

>I consider my ears to be the definitive judge.

Of course the first five notes of the "Bastien" overture coincide with
Beethoven's Eroica; but is not this one of those classic conversational
gambits that gets dragged up by the desperate at dinner parties?

Hindsight's a dangerous thing.  My ears definitively reveal that the
first two notes of Colas's incantation "Diggi, Daggi" coincide with the
start of the 'B' interlude of Berg's "Wozzeck".  A conscious tribute to
the disruptive power of Mozart's bogus rustic mage? I think not.

More constructively, I do remember reading (but can't recall where) that
the 'Eroica' theme itself was a rococo commonplace used by a lot of other
composers besides Mozart and Beethoven, and certainly dating way back
before "Bastien".

What's really interesting is the unexpected quality of this little opera
itself.  Having translated it for a London production a year or two back,
more out of duty than enthusiasm, I was completely won over by its
intrinsic charm (though there's little in it that sounds like the mature
Mozart) and remarkably astute theatricality.

Nothing goes on for too long:  Weiskern's libretto is really beautifully
written and a great improvement on Rousseau's bland original.  Lucky Dr
Mesmer and his house guests to be given such a phenomenal post-prandial
treat.

Hmm.  I wonder whether he ever hypnotized Beethoven? Now there's a thought
...

Christopher Webber,  Blackheath, London,  UK.
http://www.nashwan.demon.co.uk/zarzuela.htm
"ZARZUELA!"