into the secret by Mirza and Pheron, and directed to choose Pheron. She declines to give a decided answer, and Pheron announces to Mirza his determination to seize the throne by force in case of extremity. Sais, who believes herself not loved by Thamos, and will not therefore choose him as consort, but will not deprive him of the throne, takes the solemn and irrevocable oath as virgin of the sun. Thamos enters, and they discover to their sorrow their mutual love. Sethos, entering, enlightens Thamos as to the treachery of Pheron, without disclosing the parentage of Sais. Pheron, disturbed by the report that Menes is {COURT SERVICE IN SALZBURG.} (104) still living, comes to take council of Sethos, and adheres to his treacherous design. In solemn assembly Thamos is about to be declared king, when Mirza reveals the fact that Sais is the lost Tharsis, and heiress to the throne. Thamos is the first to offer her his homage. When she is constrained to choose between Thamos and Pheron she declares herself bound by her oath, and announces Thamos as the possessor of the throne. Then Pheron calls his followers to arms, but Sethos steps forward and discloses himself as Menes; whereupon all fall at his feet in joyful emotion. Pheron is disarmed and led off, Mirza stabs herself, Menes, as father and ruler, releases Sais from her oath, unites her with Thamos, and places the pair on the throne. A message arrives that Pheron has been struck with lightning by Divine judgment, and the piece ends. Mozart wrote music to this drama at Salzburg in 1779 or 1780, according to the evidence of the handwriting and paper of the score, as well as of the treatment of the orchestra.[16] It consisted at first of four instrumental movements which were played between the acts, and one which formed the conclusion of the whole piece. It was not a new idea to compose appropriate music to a drama of importance instead of the usual indifferent or inappropriate instrumental movements. Joh. Ad. Scheibe (1708-1776) wrote music for "Polyeucte" and "Mithridate" in 1738, and afterwards wrote an article on this kind of music in the "Kritischen Musicus." He maintained that the overture should be composed with reference to the whole piece, and should lead up to its commencement; that the symphonies between the acts should be connected both with the act which preceded and that which followed, so as to lead the audience insensibly from the one frame of mind to the other. The closing symphony should be in close relationship to the end of the piece, so as to intensify the impression made by the _denouement_ upon the audience. He {ENTR'ACTES.} (105) considered a change of instruments particularly necessary, in order to keep up the attention of the audience; but care must be taken to select the most appropriate instruments for each movement, so as to express what had to be expressed in the most effective manner possible.