Mozart has given to Pedrillo's song (15) somewhat of a military tone, suggested perhaps by the opening words "Frisch zum Kampfe!" and although his servile nature is indicated here and there in the accompaniment, the effect of the whole is too forcible and brilliant for the character.[63] On the other hand, the romanze (18) which he sings in the third act to the guitar is a jewel of delicate characterisation. Not, however, with any reference to Pedrillo himself, for he sings the song, not from personal impulse, but as something he has heard and learnt; but the strange effects of harmony and rhythm, the mixture of bold {PEDRILLO--QUARTET.} (245) knightly impulse with timid dismay, is so fantastic, so unreal, that we seem to be ourselves in Moorish lands, and are readily persuaded that we are listening to genuine Moorish music. But we are listening, in fact, to no music but Mozart's, whose own mind evolved the music which the situation demanded, without any previous philological study of Moorish national melodies. The two choruses of janizaries (so Mozart calls them in the score[64] ) are not only characterised by the Turkish airs they embody, but by original harmonies and rhythm which give them a foreign and national character, without any special regard as to whether it is actually Turkish or not.[65] We have already had occasion to remark how the ensemble movements proceed naturally from the exigencies of the situation, and are therefore essential to the musical characterisation of the work. This is especially true of the quartet (16), which forms the conclusion of the second act. Belmont and Constanze meet for the first time in the Pasha's garden, where are also Blondchen and Pedrillo. The meeting of the lovers is the more significant, since it is in anticipation of their approaching flight. An unusually elevated tone of sentiment is therefore common to them all; but the particular circumstances produce many different shades of feeling, and each character has its own distinct peculiarities. It is the task of the composer to combine this multifariousness into an artistic whole. The scenic accessories come very happily to his aid. The two pairs of lovers wander about the garden in close converse, so that they are heard sometimes apart, sometimes one after the other, sometimes together, according to the requirements of the situation and of the musical grouping. The beginning is a simple matter. Constanze and Belmont {DIE ENTFÜHRUNG AUS DEM SERAIL.} (246)