been summoned from Italy, and would demand to be shown at their best, and that he composed the opera against time, and struggling with illness, it will scarcely be expected that an unqualified success should follow such a combination of untoward circumstances. The character of a brilliant festal piece is at once suggested by the overture, which begins appropriately by a solemn intrada, with a long-drawn climax. The first bars recall the overture to "Idomeneo," which, however, in earnestness and dignity of tone, and originality of invention, far surpasses that to "Titus." The second theme so announced falls short of expectation, being weak and trifling,[46] and even the subject selected for harmonic contrapuntal treatment--[See Page Image] skilful and brilliant as the treatment is, has in itself no special interest, so that when the prelude recurs to form an effective conclusion, the principal impression remaining is one of brilliant display. The march (4) and the choruses (5, 24) as well as the finale (26) _Sestetto con coro_, in which short solo passages alternate with the chorus, maintain this festive character. They are brilliant and flowing, pleasing and melodious, and answer for their purpose and the situation without laying claim to original invention or characterisation. Only the chorus with which Titus is received before he pronounces judgment upon Sextus (24) has a fine expression of solemn dignity, suggested not so much by the words, which are trivial enough, as by the character of the situation. It was a happy touch to make the chorus, after the unexpected deliverance of Titus (15), express delight, not with jubilant outcries, but with the suppressed joy of bewildered amazement. Nevertheless this chorus is too light and fugitive for the situation. {LABOUR AND POVERTY.} (294) The tenor part of Titus displays most clearly the influence of the old opera seria, Metastasio's words, consisting of general axioms, being retained for all his three airs (6, 8, 20). The two first are short and melodious, but not deeply suggestive;[47] the last retains the old aria form with a long middle movement and return to the first allegro, together with bravura passages quite in the old style. The report that the tenor Baglione found that Mozart and not an Italian composer had been engaged to write the opera, and that they quarrelled in consequence,[48] is the more improbable since Baglione was the same singer for whom Mozart had written Don Ottavio.