The chorus forms a principal feature of "Idomeneo." There is an important difference, however, between those choruses which actually belong to the plot and express the meaning of the situation with emphasis, and those which are only superficially connected with the plot, and serve principally for ornament. These last are mostly in connection with the ballet, and should be placed side by side with the ballet music. Such are the first chorus (4), during which the Trojan captives are loosed from their fetters, the closing chorus during Idamante's coronation, and most especially the chorus at the end of the first act (10), in which we should not fail to recognise dance music, even without the superscription "Ciaconna" and the express indication of the libretto. The orchestra has a more independent part here than in the two other choruses. The character of them all is fresh and cheerful; as with a man rejoicing in the fulness of his health and strength, everything is stirring and full of sound and bustle, so it is with these choruses, which, without any striking qualities, are thoroughly effective where they stand. The charming chorus previous to the embarkation of Electra and Idamante is more characteristic, and seems to mirror the cheerful heavens and the calm sea, together with Electra's happy frame of mind. Very happy in expression are the verses which Electra sings between the choruses--simple, clear, and full of grace and delicacy. {CHORUSES.} (155) But the remaining choruses, which are more properly dramatic, are incomparably more important, grand, and earnest. The first (5), representing the shipwreck of "Idomeneo," is a double chorus for male voices. One chorus in the distance is in four parts--the other, nearer, is in two parts; the former is mostly in unison, the latter imitative; each chorus is complete in itself, and quite independent of the other, but the two together form an artistic, clearly apprehended whole. The orchestra contrasts with it as a solid mass, the stringed instruments belonging more especially to the second, and the wind instruments to the first chorus. It falls to the orchestra to depict the storm, and there are plenty of chromatic scales for the purpose, but the effect depends chiefly on bold and forcible harmonies. How little Mozart shunned difficulties and obstacles may be proved by several parts of this scene, the following passage among others:--[See Page Image] Still more powerful are the choruses which close the second act. Again there arises a storm, the sea-monster appears, and horror seizes the people. While the orchestra is in constant agitation, the chorus interposes _en masse_, partly in full chords, partly in effective unison. The succession of striking harmonies reaches its height in the four-times repeated {IDOMENEO.} (156)