all fully noted. Probably he submitted the sketch to Raaff before elaborating the song; it coincides in all but a few unimportant alterations with the later elaboration. He wished at first to compose the words of the middle movement in the same time and measure as the first movement; after four bars, however, which he erased, he wrote the middle movement as it at present stands. In spite of the restrictions laid upon him in this far from inconsiderable part of the opera, Mozart's progress since the "Re Pastore" is very marked. What we now find is not the struggle of youthful genius against obsolete and hampering forms, but a conscious compliance with them, on definite grounds, by means of which the composer strives to extract all the good possible from his unfavourable circumstances, and knows exactly how far he can go. It is difficult, however, now that the tradition of these forms is wholly lost, to decide with certainty how much is due to the insensible effect of custom, and how much to the conscious labour of the artist. Those pieces in which Mozart could act without control make an entirely different impression. To these belong the parts of Ilia and Electra. Bravura has a decided place in the conception of the latter, but with an individual colouring of passion which Mozart has made free use of as the characterising element. The two great airs (5, 29) are the vivid expression of a glowing impulsive nature, which is raised by an admixture of haughty dignity above that vulgarity into which violent outbreaks of jealousy and revenge so readily fall. In spite of the text, which puts the traditional bombastic pathos into the mouth of Electra (29)-- D' Oreste, d' Ajace Ho in seno i tormenti, D' Aletto la face Giä morte mi dä. Squarciatemi il core Ceraste, serpenti! the composer has succeeded in infusing character and individuality into the song. The two songs are allied in subject, but their treatment is {IDOMENEO.} (150) different. While in the first passion ferments, as it were, and breaks forth in separate bursts, the second is a continuous stream of wild rage, and calls for the more particular employment of the higher notes of the voice. Purely executive display is not sought after, with the exception of one passage going up to C in alt, and very expressive, if well sung, but a passionate, well-declaimed delivery is taken for granted throughout. Occasionally the voice part is more declamatory than melodious, and the effect is provided for by a rapid succession of striking harmonies. How wonderfully affecting, for instance, is the passionate outcry:--[See Page Image] The orchestra has an altogether novel function as a means of musical characterisation. It goes its independent way {ELECTRA--ILIA.} (151)