3. Passepied (B flat major) "pour Madame Redwen," short and simple, but very neat and graceful, and quite in dance form. 4. Gavotte (G major), not elaborated, delicate and graceful; a very good effect is produced by the simple imitation of the violoncello, which is carried out in harmony in the third part. 5. Passecaille (E flat major). This piece was intended for further elaboration with a Pas de seul "for M. Antoine," and a Pas de deux (Madame Falgera et M. Le Grand), but it was considered too long. Mozart only planned two longer portions without completing them, and in performance the whole Pas de deux was omitted. The traditional style of the different dances, as they are known to us from the suites of Handel and Bach, has been preserved in their rhythmical structure, and also in other {IDOMENEO.} (162) characteristics; the Passepied, for instance, would have its own place in every suite, and so also would the Gavotte. Besides this, the whole of the ballet music in "Idomeneo" is similar to corresponding movements in the opera, fresh, melodious, and appropriate throughout. But it is easy to see that Mozart was aware that the delicate details and the orchestral treatment that are present throughout the opera would not be in place here. It is true that he has done justice to himself in the free and flowing arrangement of parts and the animated grouping of the instruments, and true also that delicate harmonious transitions constantly betray the hand of a master; but he was well aware that he must depend chiefly for light and shade on sharp pregnant rhythm and strong emphasis. With this view, trumpets and drums are not spared, but the orchestra, with the exception of some separate strong strokes, is seldom used en masse; there are few attempts after peculiar effects through unusual instrumental combinations, and only in the Gavotte does a solo violoncello occur, and that in very modest fashion. The influence of the ballet-master is apparent from the fact that there are many more erasures and alterations in this than in any other part of the opera. In the overture, a magnificent piece, Mozart altogether abandoned the old forms. It is in one lively movement, and maintains its character as an introduction by not coming to a proper conclusion, but passing immediately into the first scene. A certain typical tone of heroic solemnity is heard in the first bars, and reiterated more than once afterwards; but the whole is governed by a severe earnestness, expressed by the frequent occurrence of the minor key, and by the strong but beautiful dissonances. The middle subject, on the contrary, begins a gentle plaint in A minor, which is calmed and relieved by the wonderfully beautiful introduction of the key of C major, enhanced in effect by variety of tone-colouring.