His dramatic talent again asserts itself unmistakably; the three characters are boldly sketched, and many little comic touches are thrown into relief, as, for instance, the song in which Colas practises hocus-pocus, the duet in which Bastienne to all Bastien's despairing resolutions answers only: "Viel Glück!" and others. The technical working-out is very simple. Neither in the duets nor in the closing terzet are the voices interwoven; but they {THE FIRST OPERA IN VIENNA.} (94) alternate with each other, or proceed together in simple harmony; only in one instance does there occur a short imitative passage. The orchestra usually goes with the voice, to which a simple, well-arranged bass is provided, the other parts filling in the harmonies. An accompaniment with any independent phrasing is rarely met with. The accompaniment is mainly intrusted to the stringed instruments, strengthened by oboes (on one occasion by two flutes) and horns, but only to fill in the harmonies. Horns are also employed obbligato, and with charming effect, in Bastienne's second song, "Ich geh jetzt auf die Weide." It says much for the artistic feeling and true discrimination of a boy of twelve years old, that he not only displays a mastery of operatic form, and a rare dramatic and inventive genius, but that he is able to grasp and appreciate the essential differences, both artistic and national, between German and Italian opera. It is noteworthy that his first dramatic attempts should, so to speak, touch the two extremes, which it was to be his mission to bring together. One song of Bastien's (10), with slightly altered words and clavier accompaniment, "Daphne, deine Rosenwangen," and another, "Freude, Königin der Weisen" (52, 53, K.), were printed in a musical serial,[47] the editor, no doubt, thinking to make his profit with the name of the youthful prodigy. Among the occasional compositions, which were numerous during Mozart's stay in Vienna, two symphonies must be mentioned. The first, in F major (43 K.), falling within the year 1767, is only noticeable for its middle movement, which is an elaboration of the duet in "Hyacinthus," already mentioned (p. 62 ). The second, in D major, dated December 13,1768 (48 K.), is very animated, and has some striking features. Considerable doubt still exists on the subject of a quintet, in B flat major (46 K.), which, according to Kochel's unimpeachable authority is preserved in Mozart's boyish {QUINTET IN B FLAT MAJOR, AND SERENADE.} (95)