Such materials as this are calculated to bring forth good effects. Among them may be noted the original sense of climax which Mozart produces by repeating a passage an octave lower; this is done in the Lied and in both of Osmin's airs at the words "Ich hab' auch Verstand" (3), and "Denn nun hab ich vor euch Ruh!" (19). The same effect occurs in the beautiful song "Non sö d'onde viene," composed also for Fischer; an expressive and sustained passage is repeated an octave lower, and the effect is very beautiful. In order to give an adequate idea of Fischer's powers, the two serious songs composed for him by Mozart must be considered along with this decidedly comic part. The above-mentioned, "Non sò d'onde viene" (512 K.), broad in conception and style, displays the whole compass and wealth of Fischer's organ in the most favourable light. The other, "Aspri rimorsi atroce" (432 K.), composed in 1783, is remarkable for the expression of a gloomy, agitated mood, not illumined by any ray of light. An expressive recitative is followed by a single movement (allegro, F minor) in incessant agitation, the almost uninterrupted triplets of the stringed instruments giving it the character of trembling unrest. The voice part is very striking by reason of its decided rhythm and frequent dissonant intervals; but it is mostly declamatory, and there is no appearance of a cantilene proper; the wind instruments give effect to the strong accents. The whole song pursues its rapid course like a gloomy nocturne, and dies away at last in a dull moan. This song is distinguished among all that Mozart has written by its uninterrupted expression of gloomy passion, and it would be almost inconceivable that he intended it for concert singing, did we not know that Fischer was to sing it: he was unsurpassed in every species of delivery. The parts of Blondchen and Pedrillo are not by any {DIE ENTFÜHRUNG AUS DEM SERAIL.} (244) means so important in their characterisation as those of the principal personages, neither have they much influence on the development of the plot. Blondchen, besides her share in the duet with Osmin, has two songs, of which the first (8) is in no way remarkable, written evidently for a seconda donna. The only point to be noted is a passage going up to--[See Page Image] which gives proof of Mdlle. Teyber's vocal powers.[61] The second song (12) is far fresher and more original, and expresses heartfelt joy in so lively and charming a manner, without ever overstepping the province of a good-humoured soubrette, that the hearer is involuntarily beguiled into the same cheerful frame of mind. A German element is unmistakably present (we are reminded of the "Zauberflote"), and we may note the first appearance of those naïve girl-parts common to German opera.[62]