express their feelings in a short duet-like movement, full of heart, such as Mozart has made proper to lovers. When they turn aside Pedrillo and Blondchen advance, deep in consultation on the flight, so that the music assumes a lighter and more cheerful tone. But their thoughts are also occupied with the approaching happy turn in their fortunes, and when Belmont and Constance draw near, they all spontaneously join in the expression of joyful emotion. Small touches betray the master. The consultation between Pedrillo and Blondchen is in A major, and closes with an easy phrase on the words: "Wär der Augenblick schon da!" ("O, that the moment had come!"), very expressive of the girl's character. The orchestra at once takes up this phrase with great emphasis, produced both by the sudden change to the key of D major and by the forcible unison of the instruments, as if they were exclaiming, "It has come!" and then leads back simply and expressively to the leading motif, which now for the first time asserts its full significance:--[See Page Image] But now the tone grows troubled. Belmont cannot repress a feeling of jealousy, and, embarrassed and confused, he seeks to express his doubts to Constanze, who does not understand him. Pedrillo follows in the same direction to Blondchen, who is far more ready in apprehending his meaning. The oboe gives charming expression to the feelings which the jealous lovers scarcely dare to clothe in words. Then Belmont and Constanze came forward again. The two men speak together, each after his manner--Belmont noble and open, Pedrillo with chattering haste. Constanze bursts into tears, Blondchen answers Pedrillo with a box on the ears; the women lament together, and the men are aware that they have gone too far. After the lively expression of these contrasting emotions in rapid alternation, {QUARTET.} (247) the lovers emerge from the confusion, explain themselves as to their true feelings, and so prepare for the reconciliation. The short ensemble movement in which Mozart consummates this dénouement (andante 6-8) is one of those passages of which a friend used to say that "der liebe Gott" himself could not have done it better; the purest beauty and a truly holy expression of satisfaction penetrates the simple and unpretending phrase. The magic of such conceptions cannot be rendered in words, nor can it be satisfactorily indicated by what actual means the effect is attained, and yet it is always of interest to see the master in his workshop.