The part of Constanze, so far as musical characterisation is concerned, is not nearly so well thought out as that of Belmont. "I have been obliged," writes Mozart to his father (September 26, 1781), "to sacrifice Constanze's song (6) in some degree to the voluble organ of Mdlle. Cavalieri. But I have sought to express 'Trennung war mein banges Loos und nun schwimmt mein Aug' in Thranen' as far as is compatible with an Italian bravura song."[51] We shall readily allow that he has been so far successful; and that, apart from the inserted bravura passages, the song is not only fine from a musical point of view, but appropriate to the situation. But in the great bravura song of the second act everything has been sacrificed to Mdlle. Cavalieri's voluble organ, and, as Gluck would have said, it _smells of music_,[52] It is, as we have seen, inserted without reference to the plot, and this may have led to the further consequence of treating it altogether as an extraneous piece. As regards length and difficulty, it is one of the greatest of bravura songs, and is accompanied by four obbligato instruments--flute, oboe, violin, and {DIE ENTFÜHRUNG AUS DEM SERAIL.} (236) violoncello.[53] Considered as a concert piece it is of importance by reason of the plan, artistic in design and execution, which permits the treatment of the five obbligato parts as integral divisions of the whole, while making due provision for sound effects and musical interest. The song is still often sung, although the glitter surrounding mere execution has passed away. But it does not belong to the "Entführung." Together with the brilliant execution there is a certain heroic tone in the song which is quite out of keeping with the opera and with the character of Constanze in it. The true Con-stanze, as Mozart imagined her, is found in the second air (10), which expresses with much truth and intensity the ardent longing of the maiden sorrowing for her lover. Firmness and assurance are manly attributes, but a dreamy resigned absorption in the contemplation of vanished happiness is proper to a woman, and to this maidenly sentiment Mozart has given beautiful expression. This feminine tone gives the song a certain resemblance to that of Ilia in "Idomeneo" (Vol. II., p. 151); but the latter is, as the situation requires, drawn in darker lines, and takes more hold on the mind. Here as elsewhere the same point is noticeable, viz., that when Mozart works outward from the heart of an individual situation, the separate elements of the musical construction are more striking, and the form is freer and more lifelike than it would otherwise be.[54] The instrumentation also is peculiarly effective, especially by the employment of the wind instruments, which shed a gentle glow over the whole. Mozart, against his custom, {OSMIN.} (237)