This occasional piece was considered by the Salzburg authorities to be a suitable greeting to the new Archbishop without any alteration, apparently on account of its philosophic moral reflections, and it may indeed be considered as a good example of the dramatic treatment of such reflections.[12] Dramatic the treatment can hardly be called; it is a kind of concert in costume. It is difficult to comprehend how Scipio can act or sing songs while he is supposed to be dreaming; yet Metastasio makes him awake from his dream at the end of the piece.[13] Mozart's composition, of which the original score, in one volume of 315 pages, is preserved, has more of a concert character than any other of his dramatic works of the period. It keeps strictly within the customary limits, and is poor in original invention, giving just the impression of work done to order; the score bears traces also of great haste. The overture closes with the second and slower movement, which prepares the scene for the slumbering Scipio by a change from the principal key of D major to E major, and a _decrescendo_ to _pp_.[14] This, and the accompanied recitative, that closes with the storm in the midst of which Scipio returns to earth, are the only dramatic or characteristic movements. It is curious that the opportunity for an obbligato recitative (for instance, at the description of the harmony of the spheres) is never taken advantage of; the long speeches are all in plain recitative. Not one of the ten songs has any dramatic characterisation; even the parts of Fortuna and Costanza do not offer any marked contrast. Each of them has two songs--one freely conceived in a broad style, with full orchestral accompaniments, the other of smaller design, and both richly provided with high passages. First, Fortuna sings her principal song (2), and Costanza her shorter one (3); afterwards the case is {MOZART'S EARLY OPERAS.} (192) reversed (8, 9); but the character, pitch, and formation of the songs differ so little that apart from the words they might easily be mistaken the one for the other. There is a second composition of the Licenza in existence, pointing by its handwriting, firm structure, and the independence and delicate treatment of the orchestra, to a considerably later date. The three Roman heroes all sing tenor. Africanus has a great bravura song (5), with passages as high as C in alt; his second is quieter and simpler, and makes an attempt at characterisation; the image of the rock, standing immovable in the sea, is sketched in sober colours. The song of Emilius Paulus has a kind of dance measure, not very lively, and reminding us of a polonaise; the words "un fanciullin che piange" are illustrated by a chromatic scale. Finally, Scipio has two bravura songs (1, 10) with many passages, the second being remarkable for its length.