But, indeed, most of the songs are of great length, and introduced by long ritomelli. Where there is no distinct second part, the Da capo comes into use; the middle movements are short and lightly treated. The orchestra displays some freedom and independence, but is not equal to "Ascanio." The two choruses are of the usual opera type. The first (4), in which Scipio is greeted by his ancestors, is not without power and dignity, but it has no characterisation, and is almost throughout in harmony; only once the voices make an attempt during a few bars at independent movement. In the concluding chorus (12) the voices complete the harmony in the usual way to a running accompaniment. FOOTNOTES: [Footnote 1: Leop. v. Sonnleithner has treated thoroughly and well of Mozart's earlier operas. (Càcilia, XXIII., p. 233; XXIV., p. 65; XXV., p. 65).] [Footnote 2: The quintet is omitted in the copy at the Paris Conservatoire, but is present in that at the British Museum (A. M. Z., 1864, p. 495). A song in the third act of the libretto, for Aspasia, is altogether omitted.] [Footnote 3: They are as follows:--] (1) Aria for Aspasia, "Al destin che la minnacia," in G major, elaborate and rather stiff. (8) Aria for Ismene, "In faccia al oggetto," in B major 3-4., with a middle movement, in G minor 2-4, Allegretto; pretty but not very striking. (12) Aria for Sifare, "Lungi da te mio bene," in D major, Adagio; a long-sustained but somewhat spiritless cantilene. It breaks off in 'the middle movement in G major 3-4. (17) Duet in E flat major, much more elaborate; both the Adagio and Allegro are repeated. The duet has many passages in thirds, but is also somewhat stiff. (19) Aria for Mitridate "Vado incontro al fato estremo," in F major. The rhythm is forcible and haughty, the harmonies unusually bold and striking. Perhaps this led to its rejection by the singer; the aria which was inserted in its stead doss not rise above the average in these respects.] [Footnote 4: Marpurg, Krit. Beitr., III., p. 44.] [Footnote 5: Opere 41 Gius. Parini publicate ed illustrate da Franc. Reina (Milan, 1802).] [Footnote 6: The three chief characters had already appeared together at Bologna in 1762, in Gluck's "Trionfo di Clelian Bologna" (Dittersdorf, Lebensbeschr.,p. 108).] [Footnote 7: Björnstahl, Briefe, II., p, 296. Teutsch. Mercur, 1789, III., p. 299.] [Footnote 8: Erinnenmgen an Meyer, I., p. 77.] [Footnote 9: Hiller, Wöch. Nachr., III., p. 132.] [Footnote 10: André conjectures that a separate last movement of a symphony (120 K.) which is identical in paper and writing with the score of Ascanio, was intended to serve as a conclusion to the overture when it was performed independently.]