[Footnote 48: Ulibicheff, II., p. 333: Pour rompre la monotonie que des paroles tant de fois répétées sur le même sujet devaient introduire dans un morceau de 160 mesures, d'un mouvement grave, le compositeur avait les ressources inépuisables de la modulation et de l'analyse contrapontique. Il les employa avec la science de Bach, avec la gravité onctueuse des maîtres catholiques du XVIIme siècle, avec le sentiment profond et le goût qui n'appartenaient qu'à Mozart.] [Footnote 49: Thibaut, Ueber Reinheit der Tonkunst, p. 109.] [Footnote 50: Zelter was not satisfied with Thibaut's judgment (Briefw. m. Goethe, IV., p. 37). Rochlitz (A. M. Z., XXVII., p. 461) attempts a lame apology for Mozart.] [Footnote 51: Two violin parts, _ad libitum_, meant for support, are added.] [Footnote 52: The Offertory, Sub tuum præsidium (198 K.), a duet for soprano and tenor, is simple and melodious, and has the soft and tender character appropriate to the worship of the Virgin.] [Footnote 53: Marpurg, Krit. Beitr., III., p. 195.] [Footnote 54: Altenburg, Anl. z. Tromp.-Kunst, p. 108.] [Footnote 55: Marpurg, Krit. Beitr., III., p. 195.] [Footnote 56: Rochlitz's remarks on Bach's influence over Mozart are unfounded (A. M. Z II., p. 641).] ==== MOZART BY DAVID WIDGER CHAPTER XIV. INSTRUMENTAL MUSIC. DURING the last half of the eighteenth century it had become the fashion in Italy and elsewhere to perform detached instrumental pieces as introductions or intermezzi during the pauses in Divine service.[1] They were written in the then customary symphony form; music of a lively and secular tone not being thought out of place in churches.[2] Brilliancy of effect was provided for by doubling the orchestra and other mechanical means,[3] besides forcible composition. Further innovations were made in allowing solo vocalists an opportunity of displaying their powers in church music; {INSTRUMENTAL MUSIC.} (286) and, as a necessary consequence, distinguished instrumental performers also were allowed to add their share to the attractions of Divine worship.[4] Instrumental concertos were played usually at the conclusion of the service, without any regard to an ecclesiastical character.[5] We gather from Dittersdorf's account[6] of his competition with Spagnoletti at the festival of St. Paul at Bologna and its result, that fine performances were thought as much of in the churches as in theatres and concerts.