It was considerably curtailed for representation at Salzburg. The second and third acts were compressed into one, whereby not only was the dialogue abridged, but several songs were omitted without serious injury to the text. There were other small alterations and some few additions, but nothing essential was disturbed. Instead of Aminta's first air (act 1, sc. 2) another was introduced with an accompanied recitative, and before the duet at the end of the first act an accompanied recitative was omitted. Instead of the short concluding chorus, a kind of finale was inserted, in which soli and tutti alternate. The part of Agenore was given to a tenor,[10] Aminta to the male soprano Consoli; beyond this we know nothing of the cast or of the performance. Mozart's composition, of which the original score in two volumes of 284 pages has been preserved, has the same finish of execution and invention which was so marvellously seen in the "Finta Giardiniera"; but the conventionalities of form are far more of a hindrance here than in the previous {MOZART'S "RE PASTORE."} (228) work. No scope was allowed for dramatic force or true passion; the work must be kept strictly within the limits of the festival opera. The Salzburg singers too, seem to have preferred the beaten track to any extraordinary displays of skill. This is most apparent in the tenor part of Alexander. His three songs, whose commonplace virtuous reflections give little scope for musical treatment, have, like the regular bravura songs, a long ritornello, bravura passages, the shake at the end, the usual cadenza. In details, the effort to metamorphose the form is apparent; the second part appears as a second subject, and the passages are made more interesting by their harmonic treatment, and by the prominence given to the accompaniment. The melodies are better built up, they have more musical substance; the accompaniment takes up detached portions of the chief melodies, and gives a firmer connection to the parts. The words of the first air (4) give occasion for some of the then favourite musical painting; lightning, thunder, and rain are depicted by the orchestra, but without undue prominence. The second air (9) is interesting through the obbligato treatment of the wind instruments, the flute competing with the voice in passages. Joh. Bapt. Becke (b. 1743), who had been trained under Wendling to become an admirable flautist, was summoned from Munich for this performance. The third air (13) is in the serious conventional style, not wanting in dignity.