The monotonous _parlando_ is provided with just so much of melody as to indicate that it is sung, not spoken. The orchestra maintains a very simple subject--[See Page Image] with varied harmonies, in a light, even sketchy manner, but with considerable musical interest. Even the few words in {ALTO SONG, 1776.} (233) recitative, thrown in by Don Timoteo, do not allow the singer to take breath, and only serve to make the next paroxysm still more comical. Another song, composed in the same month for the alto Fortini, may have been intended for performance at a concert. Mozart justly considered this song worthy to live, for he writes from Vienna (April 12, 1783) to beg that the rondo for an alto voice may be sent to him which he had composed when the Italian troupe were at Salzburg. The idea is the usual one of the leave-taking of a disconsolate lover. The introduction is a not very long, but an expressive recitative. The transition from this to the air itself is charming and very touching; it is the involuntary expression of the pain of parting welling out from the innermost depths of the heart:--[See Page Image] Both the movements of the song, Andante moderato and Allegro assai, are repeated; then the Andante recurs for the third time, makes its way through an Allegretto to the Allegro assai, and from this a subject is selected, which leads through an effective crescendo to a pause on the {SONGS.} (234) seventh. Then the opening bars of the Andante are repeated, stop short, and the song is rapidly concluded 'by the Allegro. The hesitation and irresolution of the lover, who cannot bring himself to depart, find ready expression in this change of movement. A deep, calm, and restrained emotion, corresponding admirably to the character of an alto voice, is well portrayed by the simple, unornamented song, interrupted only by the stronger accents of intense grief. The orchestral accompaniment is so managed as skilfully to heighten the peculiar effect of an alto voice.