follows in quite a different time and key, and has an excellent effect. A man in such violent rage oversteps all bounds of moderation, and loses all command over himself, and so must the music. But since," he continues, expressing in simple words that wherein lies the charm of all true art, "since the passions, violent or not, must never be carried to the point of producing disgust, and the music, however thrilling, must never fail to satisfy the ear, consequently must always remain music, I have not chosen a distant key to follow the F (the key of the song) but an allied one; not the nearest key of all, D minor, but the farther one of A minor." In point of fact, the effect of the minor key is extraordinary, both here and in other places where it is only cursorily touched. It adds to the frenzied wildness of the character in which lust and cruelty are blended, and it is emphasised by the strongly marked though monotonous rhythm. And how wonderfully all these characteristics are enhanced by the instrumentation! "Osmin's rage," writes Mozart, "acquires a comic element by the introduction of the Turkish music." The effect is enhanced by the simplicity which has hitherto characterised the instrumentation. The oboes (with bassoons and horns) predominate until, in the last verse: "Sonderlich beim Monden-scheine," a flute insinuates itself with very good effect. There are many characteristic touches in spite of the scanty means at disposal, as for instance, the mocking entry of the oboe at the words, "Ich hab' auch Verstand." The Turkish music serves for far more than local colour and characterisation. The expression of fanaticism is coloured as well as heightened by the shrill sound of the piccolo flute, the blows of the drum and cymbals, and the tingle of the triangles.[57] The bewilderment produced by these {DIE ENTFÜHRUNG AUS DEM SERAIL.} (240) instruments, the breathless rapidity of the movement, and the monotony of the rhythm make one feel that giddiness must ensue if it goes on much longer. But Mozart never makes us giddy, he makes use of the most forcible means for characterisation, but never to the point of becoming painful, and all with so much cheerfulness and humour that the total effect is decidedly pleasing.