The quartet (21) takes a higher place as regards invention and characterisation; Mozart himself preferred it, and rejected any interference from the singers in its composition as decidedly as he gave way to them in the songs. It is not an easy task to write a quartet for three sopranos and a tenor, but Mozart's accurate knowledge of the capabilities of the voices, and his skilful combinations, enabled him to command the most original and beautiful sound effects. We must admire, too, his genius in marking out a distinct plan, within the limits of which he moves at his ease, and in giving sharp touches of character without disturbing the unity of the piece. Ilia and Idamante stand in natural contrast to Idomeneo and Electra, and each individual is accurately characterised. This is most apparent where they all sing together, and gives life and significance to the music. Besides the independent treatment of the voices, the quartet is especially distinguished by harmonic beauties of an uncommon kind, and undeniably belongs to Mozart's finest performances. His wife relates that once, when singing in this quartet, he was so deeply affected that he was obliged to desist, and for a long time would not look at the composition again.[13] The {IDOMENEO.} (154) conclusion is original and appropriate. Idamante's commencement is that of a man who has made up his mind: "André ramingo e solo," however, dies away with the words "morte cercando" into gloomy meditations. At the close he again announces, "Andrò ramingo e solo," and leaves the scene while the orchestra continues to express gloom and sadness, dying away gradually into silence.[14]