Scheibe was followed by Joh. Christ. Hertel (1726-1789) with the music to Cronegk's "Olint and Sophronia,"[17] and by others (among them Agricola) with the music to "Semi-ramis" (after Voltaire), which Lessing thought worthy of an analysis, and declared his opinion that the entr'actes should have no reference to the following act, but should only amplify and conclude what had gone before.[18] Vogler's overture and entr'actes to "Hamlet" were given in Mannheim in 1779.[19] Even in Salzburg M. Haydn had composed in 1777 special music for the performance of Voltaire's "Zaire" by French actors, which was received with great applause.[20] The music to "King Thamos" has, curiously enough, no overture, which is perhaps accounted for by the fact that the play begins with a chorus, and so is opened by music.[21] Each _entr'acte_ is in connection with the last scene of the preceding act, and seeks to express the same set of emotions by means of music; Mozart has each time noted down what seemed to him the prevailing idea to be represented. Thus, he writes concerning the first movement: "The first act ends with the determination of Mirza and Pheron to place the latter {COURT SERVICE IN SALZBURG.} (106) on the throne." Upon the last words of Mirza--"Mirza, a woman, trembles not. Thou art a man; conquer, or die!"--the orchestra strikes in with three solemn chords, the effect heightened by long pauses; then begins a restless and agitated Allegro (in C minor). The prevailing tone is one of excitement, and those who were in the theatre might well receive the suggestion of Mirza, as an eager passionate woman, inciting Pheron to action; but the characterisation is not very striking. It is only noticeable that the separate phrases of the subject are shorter and in greater contrast than is usual with Mozart; otherwise we have before us a movement in two parts, with a coda arranged in the ordinary manner, but not elaborated. The second act has, if possible, a still more general application: "The noble nature of Thamos is displayed at the end of the second act; the third act opens with Thamos and the traitor Pheron," and the dialogue wherein Thamos declares his belief in Pheron's fidelity, and resigns Sais to him, while Pheron continues to dissemble. Here, too, Mozart has written an ordinary movement in two parts (Andante, E flat major); but he has resorted to the expedient of denoting the character of the two personages by means of distinct subjects, which he indicates by superscriptions:--[See page images] {ENTR'ACTES TO KÔNIG THAMOS.} (107) It is easy to be seen here that musical contrast is the main point, and that the characterisation is very general, quite apart from the fact that integrity and hypocrisy cannot be expressed in music, as Mozart was well aware, in spite of his naïve superscriptions. The inadequacy of such {COURT SERVICE IN SALZBURG.} (108)