treatment of the voices and of the orchestra, is, as might be expected, thorough and sure. The orchestra deserves special notice. We find only the instruments in use at Salzburg, and the wind instruments are sparingly employed. The flutes and oboes generally alternate, but they are together and in conjunction with bassoons and horns in the quartet(16) and in one of the Sultan's airs (12); trumpets and drums are only used in the Sultan's raging scene (9). Many songs (1, 11, 13) are accompanied by stringed instruments alone. The hand of a master is recognisable throughout, in the life and movement which we follow with unflagging interest, in the force and beauty of the sound effects, and in the delicacy of the lights and shades. Many touches recall later works of Mozart; but these for the most part consist in turns of expression, in the treatment of the accompaniment, &c. One decided reminiscence is not without interest. The quartet is introduced by a short passage for the wind instruments, which recurs several times in the course of the piece, whereupon the voices enter as follows:--[See Page Image] {COURT SERVICE IN SALZBURG.} (122) where it appears in the song of Constanze, "Traurigkeit ward mir zum Loose" (10) in the following form:--[See Page Imge] The alternate rendering of the subject by the voices and accompaniment, and the alternation between the wind instruments, give it a new charm; and it is not without intention that the instrumentation here is less full than in the former case. One peculiarity of this operetta is the introduction of melodrama. J. J. Rousseau, in his production of "Pygmalion" at Lyons in 1770 and Paris in 1775, gave the first example of a dramatic piece in which spoken dialogue was interspersed with music in the nature of obbligato recitatives.[32] The attempt thus to render music effective as a means of dramatic expression was successful, although the critics raised objections to the union of music and speech.[33] {ZAIDE MELODRAMA.} (123)