The wind instruments are frequently employed independently; and there is already visible the germ of Mozart's inimitable art of combining orchestra and voices with mutual independence into perfect unity. The situations and characters are fitly and dramatically expressed by the orchestra, though not in so striking a degree as in the airs. Creative power is not so prominent here as the dexterity with which the various parts are moulded together. Even with his extraordinary gifts, such a mere boy could not satisfy in an equal degree the very great and varied demands made upon him face to face with such a task as this; the only wonder is that Mozart did not yield to the temptation of producing brilliant effects at the cost of artistic unity. These finales make a perfectly harmonious effect, and wanting as they are in depth and vigour, preserve throughout the genuine character of an opera buffa. The last movement of each finale is for four voices, and is sung by all the personages present; a similar movement opens the opera. They are very simple, the voices in harmony, to a varied figure on the violins, generally only a sort of paraphrase of the principal subject; the other instruments fill in the harmonies, so that the whole has a rapid, busy effect. The overture (Sinfonia) is, according to established custom, in three movements, the two first being in two divisions. It is a symphony, composed previously on January 16 (45 K.), and prefixed to the opera with the omission of the minuet. There are a few minor alterations, chiefly in the instrumentation. The symphony had originally trumpets and drums, which were omitted in the overture, while flutes and bassoons were added. This is unquestionably the weakest part of the opera, and the middle movement is {THE FIRST OPERA IN VIENNA.} (86) especially poor; but little importance was then attached to the overture, and it is not worse than others of its day. To sum up our criticism, the opera was a worthy rival to those already in possession of the stage, and portions of it may fairly be said to surpass them in nobility and originality both of invention and execution, while it points unmistakably to a glorious future for its composer. Surely this is extraordinary praise for the work of a boy! The manuscript score is clearly a fair copy, but not without corrections. Some of these are of mistakes in the copying; others, although seldom, are alterations probably demanded by the performers, either curtailments or additions. The additions are for the most part to the closing phrases, which Mozart, as a rule, cut very short; the singers, mindful of a good exit, demanded their prolongation. The hand of L. Mozart is discernible throughout; the indications of the tempo, of the persons, instruments, &c., the minute directions as to execution, are almost all in his handwriting.