It is most unmistakably present in the two songs allotted to Arbace. The part of confidant was intended both musically and dramatically as a stop-gap; it served as a foil for the more important characters, and was a principal adjunct in the production of that _chiaroscuro_ which was considered as essential to scenic effect. On this account Arbace's two songs (11, 22) are not woven into the dramatic web of the opera either in words or music. Some concessions were doubtless made to Panzacchi, a clever and accomplished singer of the old school, and there is no lack of runs, jumps, and similar feats for display of execution. The songs follow the old fashion in other ways also (except that they have only one tempo, and a structure modified accordingly), as, for instance, in the introduction of cadenzas; a very long ritornello of the second song is afterwards shortened at both ends. But in order to give them some musical interest, the accompaniment, although weak in instrumentation, is carefully worked out in counterpoint, especially in the second song. The preceding accompanied recitative, in composing which Mozart plainly had Panzacchi in view, is fine and expressive. Dal Prato also, for whom the part of Idamante was intended, had only the knowledge of an Italian singer, and that in no considerable degree. Mozart was again, therefore, fettered by tradition, and could venture little to render the song more original and lifelike. In all the three songs for this character (3, 8, 27), the old type is clearly to be recognised. The first, if the singer had had a powerful execution, {MUSIC FOR DAL PRATO AND RAAFF.} (147) which he avowedly had not, would probably have been an ordinary bravura song; it has the general plan of one, but is without bravura passages. The emphasis is laid on the accompaniment, which is independent and interesting throughout; the constant use of the wind instruments supplies it with fine sound effects. The frequent changes of time, the construction of the song being in all other respects very regular, is intended to give animation to the expression. The second air is shorter, to suit the situation, more lively and energetic in expression, but equally dependent on the accompaniment for originality and interest. The third adheres to the old form by the introduction of a slow middle movement (Larghetto 3-4) and the accompaniment is simpler; but the song as a whole is conciser than was the fashion formerly.