The recitative, undeniably the most important section of the composition, is second to none of Mozart's later recitatives in depth and truth of expression and noble beauty, and is richly provided with unexpected harmonic changes, such as he used more sparingly in later songs. The very first entry of the voice is striking and beautiful, with a long and pathetic prelude:--[See Page Image] {THE RETURN HOME.} (82) and the close of the recitative is equally effective:--[See Page Image] If this carefully and minutely elaborated recitative be compared with Gluck's simple secco recitative there can be no doubt that Mozart's is far superior, both in fertility of invention and marked characterisation. But it must not be left out of account that if Mozart, treating the recitative and air as one independent whole, was right to emphasise and {SONG FOR ALOYSIA WEBER, 1778.} (83) elaborate details, Gluck had to consider the situation in its connection with a greater whole; in which respect his simple but expressive recitative is quite in its right place. The song itself in depth of tragic pathos is not altogether on a level with the recitative. It consists of two movements, an Andantino and an Allegro, very nearly equal in length and compass, and each of them independently arranged and elaborated. The motifs in both are simple and expressive (especially the passionate middle part of the Allegro in C minor), but in performance the attention to bravura, necessitated by the emulation of the wind instruments, detracts from the intensity and earnestness of tone. The treatment is masterly, both of the voice and the two instruments, whether considered singly or in relation to each other; it is equally so of the orchestra (quartet and horns), which forms a foundation for the free movement of the solo parts. In the hands of a first-rate performer the song could not fail to have a brilliant and striking effect. But the exclusive reference to individual talents and executive powers detracted of necessity from the dramatic effect, and if the composer had given full sway to his passions the harmony he calculated on between his work and the performer would have been lost. As far as we can judge of Aloysia Weber as a singer from the songs composed for her by Mozart, the powerful rendering of violent and fiery passion was not her forte. Her delivery cannot be said to have been wanting in depth of feeling, and yet a certain moderation seems to have been peculiar to her, which Mozart turned to account as an element of artistic harmony.[8] This song was a parting salutation to Aloysia Weber. A touching memorial of the parting is preserved in the voice part of a song ("Ah se in ciel") written by Mozart's hand in 1788 (538 K.). At the close of it she has written the words: "Nei giomi tuoi felici pensa qualche volta al Popoli di Tessaglia." L. Mozart, with his custom of reckoning on the {COURT SERVICE IN SALZBURG.} (84)