moderation in the use of his instrumental forces, any unusual enrichment being more easily perceived in this quarter than in any other, arises neither from meagreness of invention nor from a calculated singularity, but that he adopts it with clear views and firm control of his own powers. Mozart has in "Idomeneo" laid the foundation of all modern instrumentation, which has since only been developed in detail, unhappily over-developed and perverted. But the most delicate perception of material sound effect can only produce superficial results; it should serve merely as a cooperating element in true artistic production.[15] The instruments in the hands of an artist are only transmitters of the musical idea in its fixed construction and embodiment, and the same loving care which the master displays over harmonious and thematic elaboration or characteristic expression appears in his efforts to work on the senses of his hearers by means of beautiful orchestral effects. But, although the orchestra is perfectly independent, it must not be forgotten that it works side by side with the voices, serving as foreground and background for them, and never made so prominent as to cause the voices to appear only like the accessories in a landscape. Three marches are characteristic, each in its own way. The first (9) is a brilliant festival march, belonging by its style to the ballet which follows; the second (15), which is introduced in the charming way already noticed, is mainly effective by its gradual approach, new instruments falling in at each repetition and adding to its force and tone-colouring. At first the trumpets and drums are muted, as in the concluding chorus in "König Thamos." The simplest and most {BALLET,} (161) beautiful of the marches is the third (25), which fills a necessary pause in the scenic arrangements, but which is full of beautiful expression. The employment of the violoncellos is very original; they go for the most part with the double-basses, but two octaves higher, which produces an excellent effect. The music to the ballet may most fitly be noticed here. It consists of the following numbers:-- 1. Chaconne (D major), "Pas de deux de Madame Hartig et M. Antoine," "Pas de seul de Madame Falgera," an elaborate movement, with which is connected an equally elaborate Larghetto (B flat major). "Pas de seul pour Madame Hartig." To a tolerably long Annonce succeeds the Chaconne "pour le Ballet," partly repeated, and concluding with a _crescendo_. 2. "Pas de seul de M. Le Grand" (D major). This begins with a pathetic Intrade (Largo) leading to a neat and compact Allegretto, which was omitted in performance. This is followed by a very animated Più allegro, and concluded by another Più allegro "pour le Ballet," with a twice-repeated triplet passage in long-drawn _crescendo_ rising from _pp_ to _ff_. intensified by suspensions, and which is enough to make one giddy.