and when called upon, in 1814, to re-create the part which had been written expressly for her, she refused until Beethoven had consented to modify it. Everything is marvellous in the scena--the mild glow of orchestral color delineating the bow of promise in the recitative, the heart-searching, transfigurating, prayerful loveliness of the slow melody, the obbligato horn parts, the sweep of the final Allegro, all stand apart in operatic literature. At Leonore's request, and presuming upon the request which Pizarro had made of him, Rocco permits the prisoners whose cells are above ground to enjoy the light and air of the garden, defending his action later, when taken to task by Pizarro, on the plea that he was obeying established custom in allowing the prisoners a bit of liberty on the name-day of the king. In an undertone he begs his master to save his anger for the man who is doomed to die. Meanwhile Leonore convinces herself that her husband is not among the prisoners who are enjoying the brief respite, and is overjoyed to learn that she is to accompany Rocco that very day to the mysterious subterranean dungeon. With the return of the prisoners to their cells, the first act ends. An instrumental introduction ushers in the second act. It is a musical delineation of Florestan's surroundings, sufferings, and mental anguish. The darkness is rent by shrieks of pain; harsh, hollow, and threatening sound the throbs of the kettle-drums. The parting of the curtain discloses the prisoner chained to his rocky couch. He declaims against the gloom, the silence, the deathly void surrounding him, but comforts himself with the thought that his sufferings are but the undeserved punishment inflicted by an enemy for righteous duty done. The melody of the slow part of his air, which begins thus, [Musical excerpt--"In des Lebens Frühlingstaten ist das Glück von mir gefloh'n."] will find mention again when the overtures come under discussion. His sufferings have overheated his fancy, and, borne upon cool and roseate breezes, he sees a vision of his wife, Leonore, come to comfort and rescue him. His exaltation reaches a frenzy which leaves him sunk in exhaustion on his couch. Rocco and Leonore come to dig his grave. Melodramatic music accompanies their preparation, and their conversation while at work forms a duet. Sustained trombone tones spread a portentous atmosphere, and a contra-bassoon adds weight and solemnity to the motif which describes the labor of digging:-- [Musical excerpt]