to place Don Alfonso in the right light, he should be shown in real perplexity, and brought thereby into the {COSÌ FAN TUTTE.} (266) foreground. The laughing terzet passes too quickly to make this motive effective. Besides the terzet, he has only two short movements wherein to express his views on the inconstancy of women, and these in a sort of accompanied recitative suggest very vividly his exalted and pedantic turn of mind. In the latter of the two he proceeds through a very simple but suggestive climax to point his closing moral--[See Page Image] and the converted but appeased lovers join in at his desire:-- As has already been remarked, Mozart took this phrase as the motto for his overture. It is introduced by a short andante, which, after two quick chords, begins with a tender motif for the oboe; this is interrupted by repeated chords, but starts again, whereupon first the bass, and then the full orchestra, give out the "Cosi fan tutte" as above,[58] and immediately lead into the presto which is to demonstrate the significance of the phrase. A short cursory phrase--rises in rapid crescendo for the violins through two octaves; and then all the parts, in syncopated rhythm--[See Page Image] {THE OVERTURE--ENSEMBLES.} (267) seem to stop the way for some moments, only to give place to a light running passage--[See Page Image] which the wind instruments take up by turns. These are the elements which in rapid and incessant alternation chase each other through the overture like feather balls tossed from hand to hand, until the merry game is interrupted by the phrase which gave birth to it: "Cosi fan tutte!" Again the crescendo rises to its highest pitch, and closes with a few powerful chords. The gay and wanton tone of the opera could scarcely be better suggested, the overture being in very truth the most perfect expression of careless gaiety. In the clear flow of its lively frolic we see some resemblance to the overture to "Figaro," but the deep, fine feeling which shines through the tumult of the earlier work would be out of place, and may be sought for in vain in the overture before us. The characters presented to us in this opera lend themselves best to musical treatment when they join in ensemble pieces.[59] The definite situations give strength to the characterisation, which is further aided by the contrast of the persons concerned; and the dramatic motive adds variety and energy of expression. The sestet in the first act (13) is very simple in design, but effective from its well-placed contrasts and judicious climax. The introduction of the friends has a marchlike character. Don Alfonso recommends them to Despina's favour, and they add more lively entreaties, in accordance with their assumed characters; Despina's mirth {COSÌ FAN TUTTE.} (268) is excited by the extraordinary figures before her, while they are delighted to find that she does not recognise them.