interrupted by quick passages for oboes and horns, plainly intended to express a disturbance of the peaceful shepherd's life; this passes into a tender pianissimo, prefiguring Bastienne's song. Holmes remarks that the subject reminds one of Beethoven's Sinfonia Eroica, and still more so as the overture proceeds; but no one, it is to {THE FIRST OPERA IN VIENNA.} (92) be hoped, would think of an actual reminiscence. Both the melody and its accompaniment, particularly the holding down of the bass note or the fifth, often of both, are meant to suggest bagpipes. Only the stringed instruments are employed; and a curious effect is produced by the first violins giving the fundamental note to the melody on the open string of G or D. The bagpipes are imitated again in a little passage, with which Colas enters, playing the bagpipes:-- [See Page Image] In this passage Mozart has jokingly introduced a G sharp to imitate the sound between G and G sharp, which wind instruments sometimes emit, when unskilfully handled.[45] All these little tricks had already been brought in to his "Galimathias" (p. 45). Comparing this operetta with the "Finta Semplice," we find that the former is as distinctively German in execution and colouring as the latter is Italian. What amount of direct influence Hiller's operas had upon "Bastien and Bastienne" (Op. 30, 5), and others in Mendelssohn's "Midsummer Night's Dream." {MOZART'S "BASTIEN ET BASTIENNE."} (93) it is difficult to say, but there can be no doubt that the intention of both composers was the same. Simplicity and directness of expression being essential, the songs are destitute both of runs and florid passages, and the fashioning of the melodies is decidedly German, generally taking the ballad form; where a more elaborate working is attempted, we may indeed trace Italian influence, but the style is invariably simplified. The conventional form of the aria in two parts, with the repetition of the first or both, and the usual variations, is not adhered to: and when an aria consists of two parts, it has no Da capo.[46] So, too, the cadence, which had become almost a rule in Italian songs--is employed only once or twice. [See Page Image] The whole composition displays little inventive faculty,. and there are no pieces of the same significance as some of those in the Italian opera; here and there is a slight uncertainty of rhythm or harmony, and occasionally also obsolete turns of expression. On the other hand', there are not wanting passages full of grace and tenderness, the harmony is often well chosen and even bold, and the operetta is so far Mozart's best expression of simple sentiment coming direct from the heart.