It is easy to see in this case that the key selected (A major) combines with the rhythm and the harmonic treatment to produce the wished-for effect. It gives the voices a pitch allowing of the clearest and most melodious tones, heightened in their effect by the deeper pitch of the accompanying stringed instruments, and it also, although in fact the nearest key to the principal one, produces an impression of surprise as great as though it were a more distant one. This is due to what precedes the adoption of the A major key. The first movement in D major is followed by one in G minor, which leads to E flat major, B minor, F major; D minor is just touched, but only to pass again through C minor and B flat major into G minor, with a rapid transition into E major. After this restless change of key, the passage into A major has a wonderfully tranquillising effect, and the adherence to the key throughout the movement gives it a peculiar charm. But the reconciliation has not yet taken place; the lovers sue for pardon, but the two women allow them first to feel their injustice, and here Blondchen assumes the lead by virtue of her fluent tongue, while the men supplicate more and more earnestly, until at last peace is concluded. This movement is a model of dramatic characterisation. An excellent effect is produced by Blondchen's singing throughout in triplets (12-8 against 4-4), in contrast to the calm flowing melodies for the other voices. The movement only acquires its full significance by contrast with what has preceded it. {DIE ENTFÜHRUNG AUS DEM SERAIL.} (248) When pardon has been granted, every trace of past sorrow is obliterated by the feeling of complete satisfaction. After so much mental strain a complete relaxation is necessary from a musical point of view. The last movement is therefore very simple, although appropriately brilliant and fiery. It seldom departs from the principal key, and is frequently in canon form; very light passages for the voices, rapid instrumentation, and an unusually effective _crescendo_ at the close, give it an impulsive and quickening effect. This was the first really dramatic ensemble movement in a German opera, and in it we find concentrated all Mozart's services to the German opera--a full and free employment of all the means afforded by song and orchestra to give musical expression to emotion, without subservience to any more binding forms than those laws which are founded on the nature of music.