The musical characterisation grasps this situation, and develops from it a psychological picture complete in itself, and only loosely connected with the earlier conception of Vitellia's character in the opera. The song seems thus to be detached from the framework of the opera, and to belong rather to the province of concert music. This idea is strengthened by the design, treatment, and compass of the two movements, as well as by the introduction of the obbligato basset-horn, which is treated so as to accord with the voice part, without any brilliant bravura.[54] Every element of the song is blended into such perfect unity, such charm of melody, such beauty of musical form; the sharp contrasts of the different motifs are so admirably expressive of the general character of which they form the details, and the whole work is so permeated by the breath of poetic genius, that our satisfaction in contemplating a perfect work of art leads us to forget how it stands forth as something foreign to the context. Even the introductory recitative is a masterpiece of telling expression, and in the air itself the noble beauty of the different motifs is tinged with a sadness amounting to gloom, but so sublime as to inspire the same emotions with which we gaze at the Niobe. The ensembles with which the opera is provided are only in part of any dramatic significance, and where this is wanting the musical interest also suffers; the duets especially are not important either in length or {LABOUR AND POVERTY.} (298) substance. Passing over the duettino (3) between Sextus and Annius, which became popular owing to its easy and pleasing tone, but which in no way corresponds to the character of an heroic opera, we may notice the first duet between Sextus and Vitellia as better defined, especially in the first movement; although even here the wish to attract is very apparent, and gains quite the upper hand in the triplet passages and easy imitations of the allegro. An expression of tender feeling is more appropriate to the short duet between Annius and Servilia, and the loveliness of the music makes up for the absence of tragic seriousness. The three terzets are better placed, and more suitable to their dramatic situations, but even they fail to elicit dramatic contrasts by giving to each character an equal and characteristic share in the piece. Thus, in the first terzet, Vitellia alone is inspired with lively emotion, Annius and Publius being mere passive spectators. It is at the moment When she has dispatched Sextus to the murder of Titus that she is informed of the Emperor's choice of her as his consort; in vain she strives to recall Sextus, she feels that she herself is the destroyer of her happiness. An agitated violin passage, with rapid changes of harmony intensified by suspensions, expresses the excitement and consternation to which she gives vent in detached and broken exclamations; but the calm observation of the two others--