Life of Mozart Volume 2 — CHAPTER XXII. "IDOMENEO.", Part 3

A reminiscence of French opera is evident in the treatment of the recitatives as well as in the important part allotted to the chorus.

The groundwork of the dialogue is, as usual, in secco recitative, but accompanied recitative is more often employed as introductory to the songs than formerly, and it is also made use of as the most fitting vehicle for passionate or agitated soliloquies, such as that of Idomeneo after the appearance of the monster (18), or for solemn and pathetic appeals, such as that of the High Priest (22); also at different points of the dialogue where the sentiment rises above the tone of ordinary speech, the accompanied recitative interrupts the secco for a longer or shorter interval, and gives the dialogue increased power and {IDOMENEO.

} (158) animation.

The treatment of this kind of recitative is always free.

It passes from sharply accented declamation into more or less elaborate melodious song.

In the same way the orchestra sometimes serves simply as supporting accompaniment, sometimes suggests in an interlude or carries out more fully the expression of feeling excited by the words.

A

truly inexhaustible wealth of striking and, from many points of view, interesting features and beautiful motifs displays itself in these recitatives.

Very fine, for instance, is the anticipation in Electra's recitative (p. 171, score) of the principal subject of the following song.

How suggestive it is when Idomeneo, Ilia having just left him, expresses the conviction that she loves Idamante, in the characteristic motif of her song, by which doubtless she has betrayed her love, weaving it in the most striking manner into the interlude of his soliloquy!

(p. 146, score).

The variety and wealth of harmonic transitions in these recitatives is astonishing.

Mozart's originality is displayed by the way in which he gathers to a point the scattered and fugitive emotions of the various parts, so as to form a consistent whole.

There is not a note which stands alone, every separate touch becomes for him a motif, capable of further development, and each in its own measure contributes to express the situation; the subjects are not strung upon a thread, they are moulded into a homogeneous entity.

The effect of the melodrama lingers in the dramatic character of the instrumental interludes, which is sharply emphasised by the great variety of orchestral tone-colouring.

An example of such character-painting is afforded by the prelude to the High Priest's recitative (23), which is in close connection with the scene which is being enacted on the stage.

It begins maestoso, with a rapid flourish of trumpets, drums, and horns--the King enters with his followers; then a largo (of two bars length), stringed instruments and bassoons; the priests enter; finally an agitated passage for the violins; the people throng tumultuously upon the stage.

Then also we have not only the stringed quartet, with occasional use of one or other wind instrument, in the recitatives, but, wherever it seems advisable the whole orchestra {ORCHESTRA.

} (159) is employed; the wind instruments serving to accent and light up the most varied combinations.

This brings us to one of the most remarkable features of "Idomeneo," which at the time rendered the work a true phenomenon, and which even now excites admiration and appears worthy of study: the treatment of the orchestra.

It was to be expected that Mozart, having at his disposal a well-appointed and excellently trained orchestra, would develop with partiality the instrumental side of his great work.

In point of fact, the orchestral portions of "Idomeneo" are richer, more brilliant, and more carefully carried out, even to the smallest details, than was ever again the case in his later works.

The composition of the orchestra is quite the same as that which he employed in after-times, except that he occasionally has four horns, as on some former occasions (Vol. I.

, p. 304; II.

, p. 86), but not in Vienna.

He disposed freely of all the forces at his command, not contenting himself any longer with accentuating different parts by means of richer instrumentation, but maintaining throughout a more brilliant and forcible instrumental colouring, and allowing the choice and use of means to be determined only by the particular subject which was to be represented.

In this manner he kept himself within the bounds of moderation, and reserved certain resources for definite effects; for instance, flutes are employed only in the storm (18), trombones only for the oracle (28).

In the choruses to "König Thamos," on the contrary, the trombones are in frequent use, as they were later with similar effect in the "Zauberflöte."

So decidedly had Mozart even at that time fixed the character of this instrument.

But he was particularly careful so to distribute his effects that the ear should never be either over-excited or over-fatigued.

For instance, in the two storm scenes (5, 18) there are no trumpets and drums; they first occur in the flight scene, which is quite different in character; and again in the dance choruses (10, 32), when festive brilliancy is required; also in the mourning chorus, where they are muffled, which modifies the effect in a very original manner.

These observations might advantageously be carried into detail;

but it will suffice here to point out that Mozart's {IDOMENEO.

} (160) moderation in the use of his instrumental forces, any unusual enrichment being more easily perceived in this quarter than in any other, arises neither from meagreness of invention nor from a calculated singularity, but that he adopts it with clear views and firm control of his own powers.

Mozart has in "Idomeneo" laid the foundation of all modern instrumentation, which has since only been developed in detail, unhappily over-developed and perverted.

But the most delicate perception of material sound effect can only produce superficial results; it should serve merely as a cooperating element in true artistic production.

[15] The instruments in the hands of an artist are only transmitters of the musical idea in its fixed construction and embodiment, and the same loving care which the master displays over harmonious and thematic elaboration or characteristic expression appears in his efforts to work on the senses of his hearers by means of beautiful orchestral effects.

But, although the orchestra is perfectly independent, it must not be forgotten that it works side by side with the voices, serving as foreground and background for them, and never made so prominent as to cause the voices to appear only like the accessories in a landscape.

Three marches are characteristic, each in its own way.

The first (9) is a brilliant festival march, belonging by its style to the ballet which follows; the second (15), which is introduced in the charming way already noticed, is mainly effective by its gradual approach, new instruments falling in at each repetition and adding to its force and tone-colouring.

At first the trumpets and drums are muted, as in the concluding chorus in "König Thamos."

The simplest and most {BALLET,}

(161) beautiful of the marches is the third (25), which fills a necessary pause in the scenic arrangements, but which is full of beautiful expression.

The employment of the violoncellos is very original; they go for the most part with the double-basses, but two octaves higher, which produces an excellent effect.

The music to the ballet may most fitly be noticed here.

It consists of the following numbers:-- 1. Chaconne (D major), "Pas de deux de Madame Hartig et M. Antoine," "Pas de seul de Madame Falgera," an elaborate movement, with which is connected an equally elaborate Larghetto (B flat major).

"Pas de seul pour Madame Hartig."

To a tolerably long Annonce succeeds the Chaconne "pour le Ballet," partly repeated, and concluding with a _crescendo_.

2. "Pas de seul de M. Le Grand" (D major).

This begins with a pathetic Intrade (Largo) leading to a neat and compact Allegretto, which was omitted in performance.

This is followed by a very animated Più allegro, and concluded by another Più allegro "pour le Ballet," with a twice-repeated triplet passage in long-drawn _crescendo_ rising from _pp_ to _ff_.

intensified by suspensions, and which is enough to make one giddy.

3. Passepied (B flat major) "pour Madame Redwen," short and simple, but very neat and graceful, and quite in dance form.

4. Gavotte (G major), not elaborated, delicate and graceful; a very good effect is produced by the simple imitation of the violoncello, which is carried out in harmony in the third part.

5. Passecaille (E flat major).

This piece was intended for further elaboration with a Pas de seul "for M. Antoine," and a Pas de deux (Madame Falgera et M. Le Grand), but it was considered too long.

Mozart only planned two longer portions without completing them, and in performance the whole Pas de deux was omitted.

The traditional style of the different dances, as they are known to us from the suites of Handel and Bach, has been preserved in their rhythmical structure, and also in other {IDOMENEO.

} (162) characteristics; the Passepied, for instance, would have its own place in every suite, and so also would the Gavotte.

Besides this, the whole of the ballet music in "Idomeneo" is similar to corresponding movements in the opera, fresh, melodious, and appropriate throughout.

But it is easy to see that Mozart was aware that the delicate details and the orchestral treatment that are present throughout the opera would not be in place here.

It is true that he has done justice to himself in the free and flowing arrangement of parts and the animated grouping of the instruments, and true also that delicate harmonious transitions constantly betray the hand of a master; but he was well aware that he must depend chiefly for light and shade on sharp pregnant rhythm and strong emphasis.

With this view, trumpets and drums are not spared, but the orchestra, with the exception of some separate strong strokes, is seldom used en masse; there are few attempts after peculiar effects through unusual instrumental combinations, and only in the Gavotte does a solo violoncello occur, and that in very modest fashion.

The influence of the ballet-master is apparent from the fact that there are many more erasures and alterations in this than in any other part of the opera.

In the overture, a magnificent piece, Mozart altogether abandoned the old forms.

It is in one lively movement, and maintains its character as an introduction by not coming to a proper conclusion, but passing immediately into the first scene.

A certain typical tone of heroic solemnity is heard in the first bars, and reiterated more than once afterwards; but the whole is governed by a severe earnestness, expressed by the frequent occurrence of the minor key, and by the strong but beautiful dissonances.

The middle subject, on the contrary, begins a gentle plaint in A minor, which is calmed and relieved by the wonderfully beautiful introduction of the key of C major, enhanced in effect by variety of tone-colouring.

If we gather together the results of our observations of "Idomeneo," we cannot fail to discern in it the work of a master who has arrived at the maturity of his powers while still in the full bloom of youth.

It was only his {GLUCK'S INFLUENCE.

} (163) submission to those restraints which seemed unavoidable, which prevented his freeing the opera seria from the conventionalities which formed, indeed, no essential part of its being.

Even had he succeeded in doing so, it would have involved no renunciation of its national character, which, as we have seen, in no way fettered Mozart's individuality.

But, since in the improvements he made he was indebted to French opera, and especially to Gluck, the question arises how much, and in what way, Mozart had learnt from the great Parisian master.

It is not merely unquestionable that Gluck exerted a general influence over Mozart's opinions and tendencies, but the traces of a close study of his works, and especially of "Alceste," may be easily discovered.

He had been present as a boy at the first representation of "Alceste."

Its influence is apparent in many details, such as the harmonic treatment of the oracle, and the use of sustained chords for the horns and trombones in the accompaniment to the appeal of the High Priest.

The march in "Alceste" has served as a model for the style, if not for the execution, of the last march in "Idomeneo."

The High Priest's soliloquy is altogether analogous in plan and treatment to that of Gluck's High Priest; again, the recurring subject of the interlude--[See Page Image] reminds us of the corresponding one in "Alceste"--and other similarities may be detected.

More important is the similarity of dramatic style, which is especially evident in the treatment of the recitatives, and in the share taken by the orchestra in the characterisation.

But that Mozart learnt from Gluck only as one master learns from another, and that he turned his borrowed pound to rich account, it needs but a closer consideration of these details, as well as {IDOMENEO.

} (164) of the whole work, to make plain.

We must not underrate the wholesome and powerful effect which grand and important works must have made upon him, and the enlightenment and correction of his views as to the nature of the opera thereby obtained.

But we must also remember that Mozart received these impressions and this instruction into a nature self-dependent and productive, and that his artistic cultivation enabled him to appropriate only what was in accordance with his nature.

Gluck sets aside the fixed expressions of operatic form as far as is practicable, in order to gain perfect freedom of dramatic action;

Mozart, on the other hand, strives to spare these forms, and so to mould and develop them that they may themselves serve as vehicles for dramatic expression.

This he does not because he clings to what is old and established, but with the just perception that these forms contain an essential element of artistic construction which is capable of development.

Mozart never seeks, as Gluck did, to forget that he is a musician; on the contrary, he remembers it at every point of his artistic production, and could not ignore the fact if he would.

In opposition to the one-sided requirements of dramatic characterisation, he falls back upon the principles of musical construction, which are far from contradicting such requirements, and are in fact the higher power which establishes them.

On these grounds we assert that Mozart's creative power in music (to which we must first turn our glance in judging an artist) was more universal and deeper than that of Gluck;

that he surpassed him in artistic cultivation and discipline will be doubted by no one who compares the technical work, the disposition of the orchestra, &c. , in "Idomeneo" with Gluck's operas.

This judgment does not exclude the fact that some of Gluck's performances as an artist are not only grand and striking, but surpass kindred works by Mozart.

But if the laws and nature of art are once perceived, a more certain rule is provided for the judgment of the work of art as well as of the artist; and here Mozart may bear away the palm.

Mozart's leave of absence was not extorted from the Archbishop without difficulty, and it was limited to six weeks.

{DREAD OF RECALL.

} (165) The better satisfied he became with his life in Munich, where he found friends, appreciation, and enlightenment, the more appalling grew the prospect of returning to Salzburg, and he was in terror lest the Archbishop should recall him even before the performance of the opera.

With this idea he writes to his father (December 16, 1780):-- _À propos!

_ how about the Archbishop?

Next Monday I shall have been absent from Salzburg for six weeks.

You know, my dear father, that it is only for love of you that I remain in Salzburg, for, by heaven!

if it rested with me I would have torn up the agreement and resigned my appointment before I left home this time.

It is not Salzburg, but the prince and the proud nobility who become more insupportable to me every day.

I should hail with delight a letter informing me that he no longer needed my services.

The patronage I have here would assure me of present and future means of support, without taking into account the chances by death, which none ought to count upon, but which is no bad friend to a man in search of employment.

But anything in the world to please you--and it would come all the easier to me if I could get away now and then for a little to take breath.

You know how hard it was to get away this time, and that without some great cause there is no possibility of it again.

Come to Munich and hear my opera, and then tell me if I am wrong to feel unhappy when I think of Salzburg.

His father seeks to reassure him as to the leave of absence (December 25, 1780):-- As regards the six weeks, I have decided not to take any steps in the matter, but if I hear anything on the subject I shall certainly answer that we understood you were to remain in Munich six weeks after the composition of the opera, for its rehearsal and production, but that I could not imagine that his highness would suppose that such an opera could be composed, copied, and performed in six weeks, &c. It would not, however, have been a matter of regret to L. Mozart if Wolfgang could have met with a good situation in Munich.

Wolfgang himself had been rendered full of hope from the gracious reception of the Elector, and wrote to his father that if he succeeded in settling in Munich, he (the father) must not long remain in Salzburg, but must follow him thither.

He was very anxious to demonstrate in Munich that he could write other things besides operas, and he turned his church music to account.

With this object he wrote to his father (November 13, 1780):-- {IDOMENEO.

} (166) Be so kind as to send me the scores of the two Masses that I have at home, and also the Mass in B flat major (275 K. ), for Count Seeau has promised to speak of them to the Elector.

I should like to make myself known in this style.

I have just heard a Mass by Grua (kapellmeister in 1779, died 1826); it would be easy to compose half-a-dozen a day of that kind of thing.

Mozart also appears to have tried to win favour with the Elector by a new church composition; at least a grand Kyrie in D minor (341 K. ), judging by the character of the composition and the distribution of the orchestra, can only have been written during this stay in Munich.

The orchestra consists of the usual string quartet, and in addition two flutes, two oboes, two clarinets, two bassoons, four horns (in D and F), two trumpets, and drums; there is no grouping of the kind that is found in "Idomeneo."

Whether this is a fragment of a Mass which was never completed, or whether it was intended for insertion in another work, cannot now be decided.

It is tolerably long, but elaborated without much thematic treatment, the elements of the construction and flow being more rhythmical and harmonic, and taking their principal charm from the independent and richly elaborated orchestral accompaniment.

Among Mozart's sacred compositions his Kyries are specially distinguished by an originality of tone-colouring and peculiarly melodious treatment, which are extremely well suited to the melancholy tone of the movement before us.

Much of it points to the Requiem, and opens the door to conjecture as to the path which Mozart would have pursued had he devoted himself specially to church music.

Another great work, apparently written for the Munich Kapelle, is a grand serenata for wind instruments (361 K. ),[16] with the date 1780, which he must have taken with him, since he would hardly have undertaken so important a work while engaged on "Idomeneo."

The serenata is for two oboes, two clarinets, two viols, four horns, two bassoons, violoncello, and double-bass.

The instruments, and the task appointed for them, point rather to the Munich orchestra {SERENATA, 1780.

} (167) than to that of Salzburg.

Compositions for wind instruments alone, called Harmonie-Musik, were then much in favour, and Mozart may have wished to recommend himself by producing an important piece of the kind, which would place the performances of the band in a brilliant light.

[17] In form the serenata resembles those written for the complete orchestra.

It begins with a solemn Largo, which serves as introduction to a Molto allegro, worked out very like the first movement of a symphony.

This is followed by a Minuet with two trios, than a broadly planned Adagio, and again a Minuet with three trios.

To this is joined a Romanze (adagio), simple and lyrical, in two parts, interrupted by an Allegretto leading again to the Adagio, which is repeated and concluded by a coda.

Then comes an Andante with six variations, and the finale, consisting of a cheerful Rondo.

It is no easy task to write such a succession of pieces for wind instruments, for the tone-colouring, although striking and agreeable, must be moderately and carefully treated.

People were certainly more accustomed to this kind of music at the time, but even at the present day the serenata does not produce a sense of fatigue.

It has an interest as a proof of the minute study which Mozart bestowed on all instrumental forces, whereby he acquired that complete mastery of the orchestra which is displayed in "Idomeneo."

But the work has a higher significance than that of a mere study of instrumentation, as is shown by the admiration it has excited in many places quite recently.

The charm of the composition depends greatly upon the certainty with which the peculiar style of each instrument is made use of; but this forms only one side of the artistic construction of the idea, and the full force and beauty of the instrumental effects are only perceived when they are considered as a means of representing each part of the whole work in its due proportion.

{IDOMENEO.

} (168) Great delicacy and diversity are shown in the grouping and treatment of the different instruments.

The first players naturally undertake the chief parts, the accompaniment falling to the secondary players, but the disposition of parts is so free and independent that the difference is not always apparent.

[18] All the movements are well planned and constructed, rich in delicate and interesting touches of harmonic or thematic elaboration, and in general fresh and tuneful.

The crown of them is the Adagio,[19] in which the musical expression of deep and earnest feeling rises to a purity and height which is impossible to the specified representations of certain frames of mind now in fashion.

We here attain, by means of artistic catharsis, as Aristotle calls it (_purging, purifying_), to an absolute freedom and satisfaction, which it is granted to man to feel only in the perfect harmony and beauty of art.

The means by which this highest of all effects is reached are so simple that a dissection of them would only be a confirmation of the old scripture that the letter killeth and the spirit giveth life.

[20] As long as Mozart was engaged on the composition and study of his opera he had no time for recreation, and his visits were confined to the Cannabich family.

After the performance he refreshed himself by entering with his father and sister into the Carnival gaieties, and by cheerful intercourse with his friends.

But the latter did not allow him to remain long in idleness.

To please his good friend Ramm he wrote a quartet for oboe, violin, tenor, and violoncello (370 K. ), obbligato throughout for the oboe, but otherwise easy and light in design and execution.

For his patroness the Countess Baumgarten (Vol. II.

, p. 132) he composed, on March 8, {PROLONGED STAY IN MUNICH.

} (169) 1781, a concert aria (369 K. ), "Misera dove son" (from Metastasio's "Ezio," III.

, 12), which gives a favourable idea of the vocal performances of this lady.

It makes no great demands on the compass of the voice or execution, but the recitative and air are both earnest and serious, and require in every respect an excellent delivery.

The instrumentation is simple, only flutes and horns being added to the quartet.

Mozart's longer stay in Munich was rendered possible by the Archbishop's journey to Vienna, which was probably occasioned by the death of the Empress.

He wished to appear with all the pomp of a spiritual prince, and took with him a considerable retinue of courtiers and servants, as well as some of his most distinguished musicians.

Wolfgang rejoiced at this fortunate circumstance, and enjoyed himself so much in Munich that he confessed later to his father (May 26, 1781):-- In Munich, it is true, I was a little too gay, but I can assure you on my honour that before the opera was on the boards I went to no theatre and visited no one but Cannabich.

I exceeded a little afterwards, I own, but it was through youthful folly.

I thought to myself, "Where are you to go to?

To Salzburg.

Well, then, enjoy yourself while you can!"

His father was full of thought for him even now; he wrote from Munich to Breitkopf (February 12, 1781):-- I have long desired that you should publish some work by my son.

You will not, I am sure, judge of him now by the clavier sonatas which he wrote while still a child.

You cannot have seen a note of what he has written for some years past, unless it may be the six sonatas for clavier and violin which were engraved at Paris (Vol. I.

, p. 415).

We have allowed very little to appear.

You might make the experiment with a couple of symphonies or clavier sonatas, or else with quartets, trios, &c. You should only give us a few copies in return, as I am anxious that you should see my son's manner of work.

But do not imagine that I wish to over-persuade you.

The thought has frequently occurred to me, because I see so much published and in print that moves me to pity.

Wolfgang did not return to Salzburg.

His gay life in Munich was interrupted by a summons from the Archbishop to Vienna.

There he accordingly arrived on March 12, and there his destiny was to be fulfilled.

FOOTNOTES TO CHAPTER XXII.

[Footnote 1: Diet, des Théätres, III.

, p. 126. An edition by Christoph Balard appeared in 1712, and the text is printed (Rec.

des Opéras, XII.

, 1).

] [Footnote 2: Idomeneus's vow, his unwillingness to sacrifice his son, the consequent pestilence, and his dethronement by the people, are found in ancient writers; the rest is modern.

] [Footnote 3: I owe to the courtesy of Herr Reg.

Lenz, of Munich, the original libretto with the dialogues in full, not abbreviated as they afterwards were for composition: "Idomeneo, dramma per musica, da rappresentarsi nel teatro nuovo di corte per comando di S. A.

S.

E.

Carlo Teodoro, nel Carnovale, 1781" (Munich: Frz.

Jos.

Thuille.

).

] [Footnote 4: A regular finale to an opera seria was first introduced by Giov.

Gammerra in his "Pirro" (1787); so says Manfiredini (Reg.

Armon.

, p. 121), who disliked this mixture of styles.

] [Footnote 5: ALoysia Weber was no longer in Munich; she had removed with her family to Vienna, where the good offices of the imperial ambassador, Count Hardeck, had procured her an engagement as prima donna.

It is an error to suppose that this visit of Mozart to Munich had anything to do with his relations to Aloysia.

] [Footnote 6: Similar stories were told elsewhere of the Maras (Cf.

Forkel's Musik.

Alman.

, 1789, p. 122; and the account of Mara in Zelter's Briefw.

mit Goethe, III.

, p. 418; VI.

, p. 149).

] [Footnote 7: "The accompaniment to the subterranean voices," writes Wolfgang (January 3, 1781), "is in only five parts, namely, three trombones and two horns, which proceed from the same place as the voices.

The orchestra is silent at this place."

This arrangement was not carried out without opposition from Count Seeau.

] [Footnote 8: The notice was also published in the Augsburgischen Ordinari-Postzeitung February 5, 1781, No. 31), Rudhart, Gesch.

d.

Oper zu München, I. , p. 168. ] [Footnote 9: So says Rochlitz (A. M. Z.

, I.

, p. 51).

His authorities, however, are on the main points untrustworthy.

] [Footnote 10: Reichardt, who was usually rather inclined to depreciate Mozart, gives an appreciative criticism of "Idomeneo," and speaks of it as the purest work of art which Mozart ever completed (Berl.

Mus.

Ztg.

, 1806, p. 11).

Seyfried's criticism of the opera is insignificant (Cäcilia, XX.

, p. 178), but Ulibicheffs remarks are often striking, and show much delicate perception (Nouv.

Biogr.

, II.

, p. 94).

] [Footnote 11: I should not like to assert that this tremolo passage was not suggested by the words; just as in Idomeneo's aria (13) the words "fuor del mar ho un mar in seno" have suggested the billowy motif of the accompaniment.

] [Footnote 12: The recitative preceding this aria was originally (as the libretto shows) much longer and more fully composed; many pages were cut out for performance and some small alterations were made.

] [Footnote 13: Hogarth, Mem.

of the Opera, II.

, p. 198. ] [Footnote 14: Another musical surprise at the close of Electra's second aria is expressive of the dramatic situation.

The last note of the voice passes into a march heard in the distance, and beginning with the second part, so that the audience is at once transported into the midst of it.

Mozart has employed the same musical expedient in the march in "Figaro," and Spohr in the minuet at the beginning of "Faust."

] [Footnote 15: As one example among many, I may quote Idomeneo's prayer (26).

The _pizzicato_ violin accompaniment, imitating the harp, is enlivened by the division of the passage among the strings; then comes an independent fully appointed passage for the wind instruments, with an harmonic movement increasing to a climax, which has an original colouring by means of its peculiar sound effects.

And the repetition shows us a new development of the previously given elements.

A partiality for certain passages for the wind instruments, mostly in thirds and sixths, is apparent both in "Idomeneo" and in the choruses to "König Thamos"; it is observable elsewhere, but in moderation.

] [Footnote 16: For the quintet on which it was founded see p. 94. The serenata was afterwards made use of in many combinations.

] [Footnote 17: Schinck (Litterar.

Fragm.

, II.

, p. 286) describes a concert of Stadler's in Vienna, 1784: "I have heard a piece for wind instruments by Herr Mozart to-day.

Magnificent!

It consisted of thirteen instruments, and at every instrument a master!

The effect was grand and magnificent, beyond description!"

] [Footnote 18: The violoncello and double-bass have, properly speaking, no independent part; they only strengthen the fundamental bass, which would not be sufficiently prominent with the second bassoons alone.

] [Footnote 19: This Adagio has been arranged to an offertory, "Quis te comprehendat" (Coblenz: Falkenberg).

] [Footnote 20: It has already been remarked that a relationship exists between the melodies of Mozart's instrumental works, and those of his German--never of his Italian--operas; there are in this serenata suggestions here and there of the "Entfuhrung," which was composed soon after.

] {RELEASE.

}