If we gather together the results of our observations of "Idomeneo," we cannot fail to discern in it the work of a master who has arrived at the maturity of his powers while still in the full bloom of youth. It was only his {GLUCK'S INFLUENCE.} (163) submission to those restraints which seemed unavoidable, which prevented his freeing the opera seria from the conventionalities which formed, indeed, no essential part of its being. Even had he succeeded in doing so, it would have involved no renunciation of its national character, which, as we have seen, in no way fettered Mozart's individuality. But, since in the improvements he made he was indebted to French opera, and especially to Gluck, the question arises how much, and in what way, Mozart had learnt from the great Parisian master. It is not merely unquestionable that Gluck exerted a general influence over Mozart's opinions and tendencies, but the traces of a close study of his works, and especially of "Alceste," may be easily discovered. He had been present as a boy at the first representation of "Alceste." Its influence is apparent in many details, such as the harmonic treatment of the oracle, and the use of sustained chords for the horns and trombones in the accompaniment to the appeal of the High Priest. The march in "Alceste" has served as a model for the style, if not for the execution, of the last march in "Idomeneo." The High Priest's soliloquy is altogether analogous in plan and treatment to that of Gluck's High Priest; again, the recurring subject of the interlude--[See Page Image] reminds us of the corresponding one in "Alceste"--and other similarities may be detected. More important is the similarity of dramatic style, which is especially evident in the treatment of the recitatives, and in the share taken by the orchestra in the characterisation. But that Mozart learnt from Gluck only as one master learns from another, and that he turned his borrowed pound to rich account, it needs but a closer consideration of these details, as well as {IDOMENEO.} (164)