[Footnote 57: A singular effect is given by the sustained notes of the oboes and bassoons with the appoggiatura:--[See Page Image] Mozart has made a similar use of them in the Wedding March in "Figaro," where he was equally desirous of imparting peculiarity of colouring.] [Footnote 58: Mozart has used only the piccolo flute here, as specially adapted for the tattoo-like principal subject, and its wild, shrill conclusion. The clarinets are very originally treated, particularly in those places where they are apart from the other wind instruments and support the voice with sustained notes.] [Footnote 59: Mozart's expression, in his letter to his father (September 26, 1781), "The drinking duet, which consists entirely of my Turkish tattoo (Zapfenstreich)," leads to the conclusion that he has here made use of an earlier composition, with which I am not acquainted. The Turkish music, in conjunction with trumpets (no drums), is admirably suggestive of Osmin's excited, half-tipsy state.] [Footnote 60: This motif was evidently composed just as Osmin sings it. Fischer's flexible and melodious voice made it doubly effective in contrast to the less voluble tenor, so characteristic of the insignificant Pedrillo. At the outset, an admirable effect is produced by the violins, strengthened by piccolo and ordinary flutes, which gently accentuate the melody detached from its simple but agitated accompaniment. There is something peculiarly seductive in this melodious rippling sound, of which there is another instance in the Moor's song in the "Zauberflöte."] [Footnote 61: In its first design this air was considerably longer; the second part began at p. mt bar 9, instead of p. 109, bar 19; it was in D major, instead of A major, and led back into the first subject, bringing the whole to a conclusion after twenty-nine interpolated bars.] [Footnote 62: The instrumentation of this air in full, and the orchestral parts carefully worked out; the accompaniment at the words "ohne Aufschub will ich eilen" is unusually charming and animated. It also has been shortened by Mozart.] [Footnote 63: Arnold (Mozart's Geist, p. 375) interprets the words as though Pedrillo was trying to assume a courage which he did not possess.] [Footnote 64: He writes to his father of the first (September 26, 1781): "The janizary chorus is all that can be desired, short and merry, and very well suited for the Viennese public."] [Footnote 65: Ulibicheff, who makes some striking observations on this chorus, notices its many points of resemblance (such as the alternation of relative major and minor keys) to Russian national melodies, with which Mozart may have become acquainted at Prince Gallitzin's (II., p. 375).] [Footnote 66: C. M. von Weber, Lebensbild, III., p. 191. Cf. A. Wendt, Leipzig Kunstbl., 1817, p. 189. (Heinse, Reise- und Lebensskizzen, I., p. 298.)] CHAPTER XXVI. COURTSHIP.