tones and gestures of the two maidens as they wave their adieux from the shore, while Don Alfonso appears to share their feelings with a sort of ostentation of sympathy. This terzettino (10) shows Mozart's power of displaying endless shades of one and the same feeling. The farewells wafted from the shore are more composed than the lamentations called forth by the idea of separation, or even by the separation itself; they are more pure also, more intense, and transfigure all that has gone before with the light of a tender and harmonious grace finding its expression in separate sharp suspensions, and especially in the unexpected dissonance which occurs upon "desir--[See Page Image] The murmuring accompaniment of the muted violins, combined with the soft full chords of the wind instruments, suggesting the idea of the sea-voyage, contribute to the colouring of this gem of musical expression. The instrumentation throughout this first division of the opera is carefully and admirably managed. The first terzet is simple, the lively figures for the stringed instruments denoting its character, while the oboes, bassoons, and horns strengthen the lights and shades; it is quite otherwise in the second, where the stringed instruments have a gentle accompanying passage, while a flute and a bassoon carry on the melody of the song; the third is brilliant with trumpets and drums, shrill oboes and rapid violin passages. During the whole of the love scene the clarinets are kept in the foreground, the combined orchestra is full and soft, but milder and more sparkling in the last terzet, where flutes come in; the contrasting clang of the lively and vigorous march is highly effective. Thus far all has taken a natural course, and we {COSÌ FAN TUTTE.} (252)