[Footnote 12: The recitative preceding this aria was originally (as the libretto shows) much longer and more fully composed; many pages were cut out for performance and some small alterations were made.] [Footnote 13: Hogarth, Mem. of the Opera, II., p. 198.] [Footnote 14: Another musical surprise at the close of Electra's second aria is expressive of the dramatic situation. The last note of the voice passes into a march heard in the distance, and beginning with the second part, so that the audience is at once transported into the midst of it. Mozart has employed the same musical expedient in the march in "Figaro," and Spohr in the minuet at the beginning of "Faust."] [Footnote 15: As one example among many, I may quote Idomeneo's prayer (26). The _pizzicato_ violin accompaniment, imitating the harp, is enlivened by the division of the passage among the strings; then comes an independent fully appointed passage for the wind instruments, with an harmonic movement increasing to a climax, which has an original colouring by means of its peculiar sound effects. And the repetition shows us a new development of the previously given elements. A partiality for certain passages for the wind instruments, mostly in thirds and sixths, is apparent both in "Idomeneo" and in the choruses to "König Thamos"; it is observable elsewhere, but in moderation.] [Footnote 16: For the quintet on which it was founded see p. 94. The serenata was afterwards made use of in many combinations.] [Footnote 17: Schinck (Litterar. Fragm., II., p. 286) describes a concert of Stadler's in Vienna, 1784: "I have heard a piece for wind instruments by Herr Mozart to-day. Magnificent! It consisted of thirteen instruments, and at every instrument a master! The effect was grand and magnificent, beyond description!"] [Footnote 18: The violoncello and double-bass have, properly speaking, no independent part; they only strengthen the fundamental bass, which would not be sufficiently prominent with the second bassoons alone.] [Footnote 19: This Adagio has been arranged to an offertory, "Quis te comprehendat" (Coblenz: Falkenberg).] [Footnote 20: It has already been remarked that a relationship exists between the melodies of Mozart's instrumental works, and those of his German--never of his Italian--operas; there are in this serenata suggestions here and there of the "Entfuhrung," which was composed soon after.] {RELEASE.} (170) CHAPTER XXIII. RELEASE.