UPON his arrival in Vienna on June 4, Mozart at once set to work upon a quartet for Frederick William II.; the Quartet in D major (575 K.) was completed in the same month, and in return for it, according to the Berlin Veteran, he received a valuable gold snuff-box with 100 friedrichsdor, and a complimentary letter. 1 But this did not materially affect his embarrassed circumstances; the precarious state of his wife's health kept him in a state of perpetual anxiety, and the expenses it involved brought him into serious difficulties: "I am most unhappy!" he wrote on July 17 to his friend Puchberg. The confident expectation of a permanent improvement in his outward position, which he expressed in his letters to this constant friend, were grounded, as it seems, upon the overtures which had been made to him in Berlin; he had informed the Emperor of them, and thought himself entitled to look for a compensation for his refusal. But circumstances were not then favourable, and Mozart was not the man to push a claim of the kind. The effect of his depression is clearly visible in the want of musical productivity during this period. His own catalogue contains only the following compositions belonging to this year:—

1789. June. A quartet for his majesty the King of Prussia, in D major

July. Sonata for pianoforte alone, D major (576 K.). Rondo in my opera of "Figaro" for Madame Ferraresi del Bene, "Al desio (577 K.).

August. Aria in the opera "I Due Baroni," for Mdlle. Louise Villeneuve, "Alma grande e nobil core" (578 K.).

September 17. Aria in the opera "Der Barbier von Seviglien," for Madame Hofer, "Schon lachtder holde FrÜhling" (580 K.). (575 K.).

COSÌ FAN TUTTE.

September 29. Quintet for clarinet, two violins, viola, and violoncello, in A major (581 K.); first played in public at the concert for the funds of the Pension, December 22, 1789. 2

October. Aria in the opera "Ü Burbero," for Mdlle. Villeneuve, "Chi sÀ, chi sÀ quai sia" (582 K.).

Ditto, "Vado! ma dove?" (583 K.).

December, An air which was intended for Benucci in the opera "Cosi fan Tutte," "Rivolgete À me lo sguardo" (584 K.). Twelve minuets (585 K.) and twelve waltzes (586 K.).

The prospect which was known to have been opened to him in Berlin may have had some effect in causing "Figaro" to be again placed on the stage in August. At the request of the prima donna, Madame Adriana Ferraresi del Bene, who had made her first appearance on October 13, 1788, Mozart wrote the grand air (577 K.). 3 For Louise Villeneuve he composed, during the following month, three airs for insertion in different operas (578, 582, 583, K.), perhaps with some view to his own new opera, in which Mdlle. Villeneuve was to appear. The approbation with which the revival of "Figaro" was received 4 no doubt suggested to the Emperor to commission Mozart to write a new opera. "It was not in his power," says Niemetschek (p. 43), "to decline the commission, and the libretto was provided him without consultation of his wishes." 5 It was "Cosi fan Tutte, osia la Scuola degli Amanti," by Da Ponte. 6 Mozart was busily engaged on it in December, 1789; and in January, 1790, it is entered in his catalogue as completed; it was first performed on January 26, with the following cast: 7 —

CHARACTERS AND PLOT.

It appears to have been successful, 8 although it did not remain long on the repertory. 9 Unfortunately, we have no detailed information as to the preparation and performance of this opera. Da Ponte's achievement as the writer of an original libretto 10 serves to show more clearly than ever how much he had hitherto owed to his predecessors. Neither invention nor characterisation are anywhere visible, only a certain amount of dexterity in the handling of his subject.

The plot in its main points is as follows:—

Two young Neapolitan 11 officers—Ferrando (tenor) and Guillelmo (bass)—who are betrothed to the sisters Dorabella and Fiordiligi, are discovered seated in a cafÉ in lively dispute with their friend Don Alfonso, an old cynic, who maintains that their two fiancÉes would fail under any trial of their constancy. Upon their challenge to make good his words at the point of the sword he retorts with the old proverb, that woman's faith is like the phoenix—never seen. 12 Each of the lovers COSÌ FAN TUTTE. declares his bride to be the phoenix. At last they agree to a wager. The two lovers promise on their word as officers to do nothing during the next four-and-twenty hours but what they are directed by Don Alfonso, who thereupon undertakes within that time to prove the fickleness of the two maidens. The young men, confident beforehand of victory, determine on celebrating it by a grand banquet in honour of their mistresses.

Fiordiligi and Dorabella are discovered in their garden by the seashore, awaiting the arrival of their lovers and lovingly contemplating their portraits; each declares her lover to be the handsomest and best. Alfonso entering, brings the direful news that Ferrando and Guillelmo have been ordered to proceed at once to the field with their regiment. The lovers enter with melancholy mien to bid adieu, and the two ladies give vent to heartrending expressions of grief and love. The lovers express satisfaction thereat to Don Alfonso, who bids them wait for the end. A military march with a lively chorus is heard in the distance; 13 the lovers yield themselves to a last fond embrace with sobs and tears, at which Don Alfonso can hardly keep his countenance. The march again summons the officers to depart, and the two ladies join with Don Alfonso in waving their adieux to the retreating bark.

Despina, the waiting-maid of the two ladies, waits for them impatiently with their chocolate. 14 She is amazed at their entrance in a condition of violent sorrow, which is expressed by Dorabella more especially in high tragic style. Her astonishment increases on hearing the cause, and she advises her mistresses to take the matter easily, and do all they can to divert their thoughts. The serious reproof with which this advice is met is answered by her in a tirade on the fickleness of men in general, and soldiers in particular, whom she declares to deserve no better treatment.

Don Alfonso, in pursuance of his design, now seeks to gain over Despina. A few gold pieces and the prospect of a rich reward speedily gain her promise to admit two friends whom he declares to be madly in love with her mistresses. He at once introduces Ferrando and Guillelmo in the garb of wealthy Albanians, and so disguised by great beards as to be unrecognisable by Despina, who regards them as veritable "antidoto d' amor." While they are ingratiating themselves with the waiting-maid the two ladies enter. Their consternation at the presence of strangers turns to violent indignation when the pretended Albanians proceed without preface to fall on their knees and make declarations of LIBRETTO. love. Don Alfonso, entering to prevent actual scandal, feigns to recognise old friends in the Albanians, and endeavours to act as mediator. The strangers continue their bold suit, but Fiordiligi proudly declares her faith as firm as a rock, and is immovable. The consequence is that upon Guillelmo renewing his entreaties the two ladies decline to hear him out, and make their exit. No sooner are they gone than the two break into loud laughter, which Don Alfonso with difficulty induces them to moderate. The first attack, which was to carry all by storm, has failed, and Don Alfonso retires to concoct a new plot with Despina.

Fiordiligi and Dorabella are again discovered in the garden lamenting bygone happy hours, when the two Albanians rush in. They declare their resolution to take poison, spite of Don Alfonso's earnest dissuasions. Before the eyes of the cruel fair ones they swallow the contents of two vials, and sink in convulsions upon a bank of turf. The two horrified ladies call for Despina, who hurries off with Don Alfonso in search of a doctor, enjoining the ladies to support the sufferers during their absence. This, however, they dare not do, but contemplate the men from a distance in great agitation, which causes intense amusement to the disguised lovers. They gradually come nearer, and begin to express an interest which turns the amusement into disquiet. Don Alfonso returns with Despina, disguised as a doctor, a charlatan of the latest fashion, À la Mesmer, who promises to work miracles by means of magnetism. The terrified maidens are forced to submit to his behests, and to hold the heads of the sufferers, while he magnetises them back to life. Finding themselves in the arms of the fair ones, they begin to rave ecstatically; the ladies, regarding this as the commencement of the cure, allow it to continue, though not without uneasiness, until the patients demand a kiss from them. This rouses the pride of the ladies, and they break into a rage so violent in its demonstrations that the others begin to be doubtful of their sincerity; the first finale closes amid general confusion.

At the beginning of the second act, Despina seeks to reason her ladies out of their exaggerated ideas of constancy and their dread of a love-adventure such as offers itself; she places before them the image of a maiden who treats men lightly for her amusement, and remarks with satisfaction that her words have made some impression. In fact, when the sisters are left alone, Dorabella first declares her inclination to hearken to Guillelmo's suit, and Fiordiligi pronounces herself ready to put the new ideas into practice with Ferrando. In this favourable mood Don Alfonso invites them to a garden-party, where the lovers receive them with a serenade. They now show themselves as bashful and modest as they were formerly urgent and bold; Don Alfonso has to speak for them, Despina answers for the ladies, and reconciliation is sealed by a pressure of the hand. After some general conversation Ferrando and Fiordiligi go off together. Guillelmo expresses himself COSÌ FAN TUTTE. more tenderly to Dorabella, and offers her a valuable gold heart as a gift; she takes it without more ado, declares that she cannot offer him her heart in exchange, since he already possesses it, allows him to loosen Ferrando's portrait from her bosom, and gives way to the tenderest endearments. Ferrando returns with Fiordiligi, who rejects him with apparent severity, but lets it be felt that she is not altogether indifferent to his suit; he ventures upon a tender declaration of love, and, finding it still unheeded, goes out in despair. Left alone, she declares her heart to be affected, but adheres to her resolve to resist the temptation and keep faith with her lover.

Ferrando joyfully communicates Fiordiligi's steadfastness to Guillelmo, but is consternated to hear from him how easily Dorabella has been won, and has to submit to some triumph on the part of his friend. He feels all the acuter pain that his love to the faithless one is not yet stifled. Guillelmo now regards the wager as lost, but Don Alfonso demands that one more attack shall be made on Fiordiligi.

Fiordiligi reproaches her sister in unmeasured terms for her thoughtlessness, whereupon the latter with extreme frankness declares that she neither can nor will control her inclinations. Horrified at this, Fiordiligi determines upon escaping from her own weakness by donning man's attire and following her lover to the wars. She has a uniform brought in, puts on the helmet, takes the sword in her hand, when Ferrando rushes in and conjures her to slay him rather than desert him. This is too much; she cannot withstand his anguish, and sinks upon his breast overcome. It is now Guillelmo's turn to be beside himself. The two are bent upon forsaking their faithless mistresses, until Don Alfonso gradually succeeds in making them regard the affair from his own philosophical point of view: "Cosi fan tutte!" They decide therefore on espousing their brides, but not before they have punished them for their want of faith. Despina enters with the news that the two ladies have determined to wed their new lovers the same evening, and have sent her to fetch the notary. The two couples enter the gaily decorated room, and are received by Despina and Don Alfonso and the congratulatory chorus of friends and servants. Amid cheerful converse they place themselves at table. Despina enters as a notary, and reads the marriage contract. It is scarcely subscribed when the chorus and march of the first act are heard in the distance. Don Alfonso enters terrified with the news that the regiment has been suddenly recalled, and the old lovers are approaching the house. The Albanians and the notary are hastily concealed, and the ladies, in mortal fear and embarrassment, receive their lovers returning full of joy. Don Alfonso, acting as mediator, causes the notary to be discovered; but Despina declares herself, and asserts that she is returning from a masked ball. But the marriage contract falling into the hands of Guillelmo, the ladies are obliged to confess their guilt to their enraged lovers, whereupon the latter discover themselves as the Albanians, while Guillelmo returns the PERFORMANCES OF THE OPERA. portrait to Dorabella, mockingly repeating the melody of the duet. Confessions ended, Don Alfonso exhorts them to make peace, and brings the couples together; finally, they all unite in the moral:—

The opera was not again performed in Vienna in Italian until 1858, but it was produced at the Theater an der Wien in a German translation by Gieseke, in 1794, with the title of "Die Schule der Liebe"; in 1804 it was played at the Imperial Hoftheater as "MÀdchentreue"; again at the Theater an der Wien in 1814, in Treitschke's adaptation, "Die Zauberprobe"; in 1819 and 1840 at the Hoftheater in the earlier translation, and in 1863 in Schneider's adaptation. In Berlin also, where it was first given on August 6, 1792, with the title "Eine machts wie die Andere," 15 it was again attempted in 1805 in the translation by Bretzner, "Weibertreue, oder die MÄdchen sind von Flandem" (Leipzig, 1794), 16 followed in 1820 by Herklot's adaptation "Die verfÄngliche Wette." Nevertheless the older adaptation was preferred for the revival of the opera in 1826 at the KÖnigstadt theatre; 17 this gave way to one by an anonymous author in 1831, 18 which was employed for the representations of 1832 and 1835, but abandoned for L. Schneider's adaptation in 1846. 19 At Prague, Guardasoni at once placed "Cosi fan Tutte" on his repertory; and in 1808 20 it was performed there in German as "MÀdchentreue," in 1823 as "Zauberprobe," 21 in 1831 in Bohemian, 22 and in 1838 in Italian by the COS! FAN TUTTE. pupils of the ConservÄtorium. 23 Guardasoni also introduced the opera at Leipzig, where it was several times performed in German during 1805, 24 and by the Dresden Italian opera company in 1830. 25 Curiously enough "Cosi fan Tutte" was the first opera by Mozart performed in Dresden, in 1791, and kept its place in the repertory, although in 1812 it was still the only one. 26 In Italy it took no firmer hold than the others, and was only given on single occasions at Milan in 1808 and 1814, 27 and at Turin in 1816. 28 In Paris "Cosi fan Tutte" was given by the Italian opera company at the OdÉon in 1811, 1817, and 1820; 29 and in London it was first played in an English translation by Arnold in 1811, 30 and again in 1828; in 1842 it was included among the Italian operas, and received with great applause. 31

The wide-spread reputation of "Figaro" and "Don Giovanni" had prepared the public mind to receive Mozart's music to this opera (588 K.) 32 with the favour which it deserved; 33 but the libretto was universally pronounced to be one of the worst of its kind; 34 nor has the judgment of ALTERATIONS IN THE LIBRETTO. posterity reversed the verdict passed upon it. 35 Two reproaches were more especially brought forward. One was the extreme improbability that neither the lovers nor Despina in their disguises would have been recognised by the two ladies, and the other the outrage committed on the moral sense by the frivolity of the test imposed, and if possible still more by the ease with which, after the unfortunate issue of the trial, the lovers all adopt a philosophic toleration towards each other. These two blemishes, however, will scarcely account for the fact that, even where attempts have been made to remove them by adaptation, the opera has never maintained its place on the stage. 36 Unquestionably, the device of the disguise is trivial, and in itself not at all entertaining, but the number of popular comedies the main point of which consists in disguise prove that the public in this respect is not hard to please. It makes no undue call on the imagination of the spectators to proceed on this supposition, although in every drama deviations more or less important must thereby be made from reality. But the imagination refuses to accept these improbabilities unless they are made to serve as external manifestations of events and actions which seem thus to be taking their regular course. If they are made the foundation for events which are manifestly false to nature, the revulsion in the spectator's mind is extended to the improbable representation itself. Treitschke hit upon the most unfortunate device for obviating the difficulty, by turning Alfonso into a magician and Despina into a sprite, and thereby not only producing glaring inconsistencies, but completely nullifying the musical characterisation. Another attempt was made by Krebel in an adaptation called "MÀdchen sind MÀdchen," performed in Stuttgart in 1816, where the lovers return home after a lengthened absence and COSÏ FAN TUTTE. before appearing to their brides undertake and carry out the trial of their constancy; Despina undertakes the cure in her own person, and in the last finale a real notary is brought on, whom she afterwards declares to be her lover. The progress of the plot is completely changed, almost all the songs are transformed and taken from their proper connection. Herklot's alterations in "Die verhangnissvolle Wette" went still deeper. 37 The ladies are not put to the test by their own lovers, but, with the connivance of the latter, by two of their friends, whose servant Pedrillo takes part in the intrigue as the doctor and the notary. Not to mention the injury which the musical characterisation suffers thereby, the clumsiness of the test imposed is made still more apparent, and the final reconciliation becomes more unreal and revolting.

Da Ponte has made no effort to soften the awkwardness of the situation; it is indeed very much increased by the exchange of lovers made during the trial, as if the right choice was that which is then made. G. Bernhard (Gugler), who has done honour both to words and music by his excellent edition of the opera, 38 removed this obstacle in his adaptation, "Sind sie treu?" (Stuttgart, 1858). Here each lover proves his own mistress, and the plot and its development are modified accordingly. 39 Da Ponte sacrificed the excuse this would have afforded to the two ladies—who might be supposed unconsciously drawn towards the true object of their affections—to the dramatic effect of the embarrassing position of the men on either side. Attempts to remedy this defect led to other and greater ones. 40 In an old adaptation, "Die Wette, oder MÀdchen-List und -Liebe," the author CRITICISM OF THE LIBRETTO. (whose name is unknown to me) has hit upon the device of making the waiting-maid betray Don Alfonso's plot to the sisters before the entrance of the pretended friends, so that they are supposed to be hoaxing their lovers all the time, and the latter have to sue for pardon at the end. Despina's disguise as the doctor is retained, but a real notary is brought in for the last finale. Arnold proceeded similarly in his English version, "Tit for Tat." 41 L. Schneider, too, has made the same alteration, with the difference that Despina does not betray to her mistresses the plot against them until the second act, from which time they feign the weakness with which they mean to chastise their lovers. But this alteration implies a coarseness of conduct in the two sisters which is scarcely less reprehensible than their fickleness. The musical characterisation also is destroyed, since they are now supposed to feign the sentiments which they were originally intended to express in all seriousness; the inconsistency is sometimes unendurable. Added to this, the second finale is nullified by the altered catastrophe, and the charming part omitted where the men recall the characters assumed by them. 42

It would have been necessary to bring the psychological interest of the drama into the foreground in order to conceal what was objectionable in the situations. Ingenuity and delicacy of invention might have turned the subject into an interesting drama, with the guilt and mishaps so evenly balanced that the whole might naturally come to a cheerful and pacifying conclusion. Da Ponte's text in no way fulfils these requirements; he takes his stand on the level of the ordinary opera buffa, and demands to be measured by that standard. He makes some attempt at more delicate characterisation in his Fiordiligi, in which Ferrando partakes, but the remaining characters are all of the usual opera buffa type, and only receive their individual stamp by virtue of the music. Nor do the situations COSÌ FAN TUTTE. display much more of original invention. The only animation afforded to the play, consisting of the pretended poisoning and the entrance of Despina as doctor, is neither new nor refined, and the plot proceeds without exciting either interest or suspense. But it gives occasion for a succession of musical situations which, considered apart, have been skilfully treated by Da Ponte. The parting scene, the sestet, and especially the first finale, are thoroughly musical in design, and Da Ponte's verses are easy and flowing, often not devoid of wit. Unfortunately his energies are almost all exhausted in the first act. While this contains a wealth of ensemble movements and contrasting situations scarcely to be found in any other opera, the monotony of the second act is strikingly apparent. It does not seem to have occurred to Da Ponte to develop his plot by means of an artistic arrangement of ensemble pieces. His sole care has evidently been to apportion the airs and duets indispensable to the chief characters in opera buffa with a due regard to dramatic contrast. 43

Mozart therefore found himself once more engaged upon an opera buffa in the strict sense of the term. The plot is without meaning, the characters without individuality, deriving what effect they have by means of the ordinary resources of low comedy and exaggeration. Passion and feeling rarely assert themselves without the disturbing elements of hypocrisy and deceit; and thus the source of Mozart's own peculiar conception of musical representation is virtually closed to him. Then, in addition, the demands of the artists had to be taken into consideration. We can only wonder, under the circumstances, at Mozart's power of seizing every point which could be turned to the service of his artistic conceptions; the work reveals a side of his nature which has not hitherto appeared. 44

The unreserved expression of emotions throughout the THE MUSIC—ENSEMBLES. opera affords a not ungrateful field for musical representation. The awkwardness of having three terzets for male voices following each other disappears under Mozart's treatment, since he makes each the natural outcome of the situation, and they serve as joint members of one organism to produce a natural climax. The first terzet takes its tone from the excited mood of the young officers, which Don Alfonso seeks with easy playfulness to moderate. In the second, Don Alfonso comes to the foreground with his old song about the phoenix and woman's faith, which he sings in a tone of good-humoured irony, exceedingly well supported by the orchestra, while the other two try mainly to interpose and stop him; it is a most original piece of music, full of excellent humour. The third terzet displays the high spirits of the lovers, raised to a pitch of great excitement, and the music brings the merry feast to which they are already looking forward vividly before the mind. The light and cheerful, somewhat superficial tone which here prevails, fixes the ground-tone of the opera. The young men are characterised generally, without accentuating their individualities; they stand opposed to Don Alfonso, whose contrasting character comes out all the more sharply. The duet for the two sisters (4) is more elevated in tone, to accord with the situation. They are melting in tender emotion as they gaze on the images of their lovers, and the expression of the music is full of life and sensuality, but more animated than warm, with no echo of those gentle accents in which Mozart elsewhere so inimitably characterises the hidden longings of the soul. The unanimity of sentiment here again obscures individual character, and the modifications are more musical than dramatic in their nature. Don Alfonso's COSI FAN TUTTE. short air (5), where he appears to urge composure, characterises not his true nature, for he is feigning all the time, but the situation, and that with a degree of exaggeration which comes out in striking relief to his otherwise calm and equable nature. The tone and delivery of the air are correctly indicated by Don Alfonso's words: "non son cattivo comico"; the deceit is conscious and evident throughout, and it is rendered easy for the performer to let an ironical tone occasionally peep through. The following quintet (6) carries us to a height hitherto unsuspected. The grief of the sisters at the prospect of separation from their lovers is expressed with ever-increasing passion, while conscious dissimulation imposes a certain restraint on the men, though the emotion they express is in itself genuine enough; the softer nature of Ferrando betrays itself in his gradually increasing sympathy with the sorrowing women. The ironical element introduced by Don Alfonso, just at the point when the passionate lamentation of the sisters is making the greatest impression on their lovers, prevents the situation from passing altogether into the pathetic vein. This quintet undoubtedly belongs in every respect to Mozart's highest achievements. The short duet (7) on the other hand, in which Ferrando and Guillelmo seek to console their trembling fair, ones is poor both in musical substance and characterisation, being an easily constructed piece of the kind which the general public loved. The march with chorus (8), which comes next, is simple, but very fresh and pretty, well suited both to the situation and the character of the opera. The farewell scene (9) takes place at the same time—indicated in the autograph score as "Recitativo coi stromenti"—and is a perfect masterpiece of beauty and delicate characterisation. The broken sobs of the afflicted women have something of the same comic effect as the infinite sorrow of childhood, and the men seem, half involuntarily, to imitate them; but when the last adieux have been exchanged they give vent to such a sweet and touching sound of lamentation that even the lovers are touched by it, and Don Alfonso is silenced. The repetition of the chÖrus interrupts the tender leave-taking just at the right time, and endows the scene with fresh life and animation. It finds an appropriate conclusion in the TERZET. 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. have met with no unusual characters, no startling situations; the emotions represented have been true and simple, and have been the necessary consequences of the events composing the easily comprehended plot. The musical depicting of such emotions is a grateful task; if it is true in itself and a faithful rendering of the given situation it cannot fail of its effect. And Mozart has here combined truth of characterisation with a beauty of form and a charm of sweet sound which almost overpower the ear, and are scarcely to be found in such fulness in any other of his operas. The further development of the plot leads to a sharper characterisation of individuals. Dorabella first unfolds her grief in a grand air (n) introduced by an accompanied recitative. It consists of one movement (allegro agitato) which receives its distinctive character from the sextole passage for the violins—[See Page Image] which does not cease for one bar until just before the end; an unsteady trembling movement is imparted to it by varied harmonic transitions, and an occasional sharper accentuation by the full chords of the wind instruments. The simple sustained voice-part moves above this accompaniment in short expressive phrases, rising now and then to a tone of passionate appeal, and at the close to an unexpected pathos. Both in musical treatment and emotional expression the air takes a high rank; but none the less is it in striking contradiction to the character of Dorabella as it is afterwards developed. It is she who proposes to her sister to coquet with the new lovers, and in the duet (20) in which they agree to do so it is she who takes the initiative. In the duet with Guillelmo (23) 45 she shows herself so easily persuaded and so full of amorous passion that it appears the revelation of her true nature. It renders superfluous her subsequent expression of opinion in an air (28) that love rules over all hearts, and it is but folly to resist his sway. This air has a certain resemblance to the first in the simplicity of the DORABELLA. voice-part and the moderation of the expression, although the feelings inspiring it are of such a different nature. The accompaniment again bestows upon the song its peculiar colouring; and the great prominence given to the wind instruments adds an insinuating and specious tone to the whole. But a closer examination reveals the evident contrast of the two songs. Dorabella is a woman of lively but not deep feeling; excitement is necessary to her, even though it may be of a painful nature—she cannot live without it. Her expressions of sorrow increase in intensity, and the orchestra is markedly toned down to allow her to display her true, somewhat shallow nature. Besides this, the exaggerated tone of her grief, displaying its want of perfect sincerity, is strongly marked by the words, e.g.—

and the music takes the cue therefrom. While borrowing the pathetic tone and form of the opera seria, she turns them into a parody like that of the text, invoking the furies with all the rhetorical apparatus of tragedy; this is especially noticeable towards the close:—[See Page Image]

COSÌ FAN TUTTE.

The parody facilitates the difficult task of carrying the musical expression of emotion to an exaggerated degree without making it ugly and unnatural. The refined delivery of the vocalist, and the ready apprehension of the audience, must always be presupposed. In the character of Fiordiligi Da Ponte has unquestionably kept Ferraresi del Bene in view; he was said to stand in tender relations towards her. 46 According to him she had a fine voice and an original and affecting delivery, and this opinion was confirmed by the London critics, although she was never considered there as a true prima donna; 47 and Mozart himself remarked that it was not saying much to pronounce Allegrandi far superior to Ferraresi. She had not a good figure, and was but an indifferent actress; but she had beautiful eyes and a charming mouth, and was in great favour with the public. It is not surprising, therefore, that Fiordiligi should have been placed on a higher level than her sister, both musically and dramatically. 48 Her very first air (14) places her in a far more favourable light. The disguised lovers, after a decided repulse, renew their shameless attack. Fiordiligi's condescending to answer them and to assert her inflexible constancy may not, indeed, be a proof of fine feeling on her part, but it demands an energetic and emphatic tone and strong and appropriate colouring. We therefore have a bravura air in two movements, an andante and allegro, closed by a long coda in accelerated tempo. The comic effect again rests on the element of parody, which is even more strongly marked than in Dorabella's air; the bravura passages, intervals of octaves, tenths and twelfths, the roulades which she flings at her opponents, the bass-like passages in the deeper register of the voice, all characterise Fiordiligi's Amazon-like haughtiness in an exaggerated manner. Afterwards, it is true, she FERRANDO. is induced by her more thoughtless sister to coquet with the new lover, but Dorabella's lover presents himself after a fashion calculated to make a strong impression upon her. Guillelmo is always light-hearted and cheerful; while, even in the parting scene, Ferrando has shown himself to be a man of softer mould. His air (17), after the first repulse of his suit, leaves no doubt as to his nature. It renders the vapid sentimentality of the words with remarkable tenderness and delicacy, but this kind of sentimentality being quite foreign to the southern nature, the portrayal of it would rouse more ridicule than sympathy. Such a character cuts a comic figure upon the 'stage—a circumstance which must be borne in mind in considering this opera. Even in his feigned wooing he expresses his feelings with warmth and animation, his eccentricities being indeed heightened by the difficulties of the situation. This is just the demeanour calculated to make an impression on Fiordiligi, and she soon begins to waver. Perceiving this, he expresses his delight with an extravagance which a man of calmer temperament would have been incapable of dissembling; 49 it is evident that his fancy gets the better of his excited feelings. So apprehended, this air (24) not only entrances our minds by its continuous flow of lovely melody, but gives us a sense of natural fitness for the situation and characters. It would have been an impossible task for music to represent Ferrando as singing this song with coolly calculated dissimulation; for the exaggeration of caricature is only appropriate when no conviction is required to be brought home to us, whereas here the impression experienced by Fiordiligi must be shared by the audience before it can become intelligible. The music must therefore express a feeling by which a man of excitable nature would be likely to be carried away.

In this way only can we justify the deep impression made upon the equally excitable Fiordiligi, when, left alone, she reproaches herself doubly for having coquetted with Ferrando, and been false at heart to her lover. The feeling COSÌ FAN TUTTE. of remorse, and of newly strengthened fidelity which the memory of her absent lover inspires, is charmingly expressed in the lovely air (25), "Per pietÀ, ben mio, perdona." This is genuine emotion, springing from the heart, and the music expresses it with all the charm of pure melody. This important air, in two elaborate movements—adagio and allegro—gives ample opportunity for display to the singer and an independent part to the wind instruments, especially the horns, without doing injury to truth of expression. It is undeniably akin to the great air in "Figaro" (p. 92) composed for the same Ferraresi, although they differ both in tone and colouring. Probably the individuality of the singer, distinctly recognisable in the three songs, exerted considerable influence over their composition; and it may also be remarked that too vivid a representation of such a mood as this would have exceeded the limits of opera buffa; even as it is it suggests almost too serious a complication and solution of the situation. Ferrando, on learning the faithlessness of his Dorabella, breaks at first into violent indignation; but this soon gives way to softer feelings, which he cannot overcome. In his lovely cavatina (27)—so Mozart has entitled it—his anger is only faintly suggested, while the memory of his still-loved Dorabella shines forth from the darkness of the soul. 50 While he is yet in this sentimental mood he is urged by Don Alfonso to make one more attack upon Fiordiligi's heart. With this intent, he surprises her in the act of putting into effect her romantic determination to escape from her own weakness by donning man's attire and following her lover to the wars. The duet which ensues (29) is of singular design and unusually rich elaboration. In contrast with Fiordiligi's grandiloquent sentiments, as she fancies herself again by the side of her lover, comes the melancholy plaint, the urgent petition of Ferrando; her resistance grows weaker as his entreaties grow more earnest—until at last she sinks into FERRANDO—GUILLELMO. his arms. This scene consists of a regularly worked-out duet in two movements, but the long suspense requires a corresponding length of reaction from it, and we have to all intents and purposes a second duet, with two movements expressive of the happiness of the lovers. Here again the expression of feeling is so direct and true that we cannot but imagine Ferrando carried away by the impulse of the moment. In fact, these two characters and their relations to each other are somewhat out of keeping with the rest of the opera. Da Ponte failed in giving due effect to the deeper psychological interest of the characters; Mozart has clothed them in flesh and blood, but even he has failed to endow them with the distinct and vivid personality which is to be found in "Figaro" and "Don Giovanni."

No doubt the idiosyncrasies of the performers, who were for the most part more of singers than actors, and had apparently not much talent for comedy, had considerable influence on the plan of the piece; 51 the part of Guillelmo was written for the excellent buffo Benucci (Vol. III., pp. 51, SS). 52 He first comes forward independently, when, in his disguise as an Albanian, his first attack has been repulsed and, Fiordiligi having expressed her haughty indignation, he boldly ventures on a fresh declaration of love. Here he had originally an air (584 K.) of the most decided buffo type, which opposed to the exaggerated pathos of Fiordiligi an extravagance of a different kind, and expressed in strong caricature the confidence of the new wooers in the ultimate success of their

COSÌ FAN TUTTE.

Mozart has turned this into a comic air in the grand style, worthy to rank with those of Leporello, although the delicate malice which characterises the latter would be out of place here. The various points, not only where the mention of dancing and singing suggest musical freaks, but throughout, are made effective in the happiest musical contrasts, without disturbing the flow and consistency of the whole song. Towards the close especially, the climax is inimitable. After the transition into D minor on "trillo" and "uscignolo"—[See Page Image] GUILLELMO'S AIR. the wind instruments sound a mocking fanfare to the violin quavers on "qualch' altro capitale"—[See Page Image] COSÌ FAN TUTTE. whereupon Guillelmo, after the exit of the sisters, breaks out with the whole strength of his voice into a triumphant allegro molto—[See Page Image]

but stops suddenly, as if afraid of being overheard, and sings his joy sotto voce to Don Alfonso. This air, which afforded abundant opportunity for the display of voice and art to the happiest advantage, was laid on one side, no doubt with the conviction that so evident a caricature could not be maintained throughout the love-test without wedding internal to external improbabilities, and displaying Guillelmo in two distinct characters. Another air (15) was therefore substituted, expressing Guillelmo's character as a cheerful man of the world who takes serious matters lightly, and comports himself with ease and freedom. He turns half confidently, half jokingly to the ladies, the secret pleasure which their rejection of his suit affords him increasing his cheerfulness, and even giving it a tinge of irony. The music is quite simple, tuneful, light and pleasing, in direct contrast to the previous grand air. His second air (26) in which, after his adventure with Dorabella, his good opinion of women is considerably modified, is in perfect harmony with the first. The feeling that he has the advantage over Ferrando, the GUILLELMO. assurance of Fiordiligi's unalterable faith, give him an air of overweening security, and cause him to express himself with a lightness which he would certainly have refrained from had he known how nearly the matter affected himself. This is a truly comic situation, and Mozart has given effect to it mainly by the tone of easy merriment which he has caught so admirably, and which never passes the bounds of friendly good-humour. The air is long, singer and orchestra vying with each other in rapid animation, and the jovial, easy character of the man is fully and pleasantly expressed. 53 His intercourse with Dorabella corresponds with this view. The easy, half-jesting gallantry with which he approaches her in the duet (23) belongs to his nature, and the part he is playing is no effort to him. It is more than once made plain that Dorabella is more strongly affected than he; after she has once met his advances with favour he merely seconds her, as being pledged to do so; but he does it with the same ease and confidence that he has displayed throughout.

Mozart has shown correct judgment in making Guillelmo' a natural, good-humoured character, instead of a caricatured buffo figure. But a motive seems to have been at work here which appears throughout the whole of "Cosi fan Tutte." It is evident that Mozart has sought to clear himself from the reproach that his music was too heavy, too serious for a comic opera, and to satisfy the taste of the public for what was light and entertaining. This demand was met in the two male duets, the first (7) being light and superficial, and the second a serenade (21), which (accompanied, according to custom, only by wind instruments) follows a striking chorus with a melodious and pleasing effect, but without individual character. The same motive is even more evidently at work in the character of Despina. She never betrays a particle of true feeling. She has no sympathy COSÌ FAN TUTTE. either for her mistresses, or for their lovers, or for Don Alfonso, and she has no love affair of her own. The only visible motive of action with her is selfishness, which triumphs even over her love of intrigue; every expression of hers shows giddy thoughtlessness, not always of the most refined kind. Her two songs are both addressed to her ladies. The first (12) is in answer to Dorabella's pathetic burst of sorrow, and scoffs at her belief in the constancy of men, while urging her to reward inconstancy with inconstancy. The second (19) exhorts the still undecided fair ones to adopt coquetry as the true rule of life for the female sex. In the first air the gaiety, lightly tinged with humour in the short introductory allegretto, is light and easy, and has a forwardness about it not quite maidenly, but so pretty and winning that the whole person is invested with a certain interest and attractiveness. In the second air Despina appears as the temptress; therefore the action is more careful, the expression more delicate; insinuating persuasion takes the place of her former pertness, and the comic element only asserts itself once in the strongly accented:—

This air reminds us in many points of Zerlina, but it serves also to prove how many touches of detail and delicate shades of musical expression are wanting when true feeling is not at the root of the conception. Spite of its commonplace tone, its lively gaiety gives it a certain charm, just as in everyday life we often meet with people commonplace in their nature, but attractive from their youthful freshness and cheerfulness. But Despina is in her element when she herself is playing some extravagant prank, and she adopts her various disguises with much boldness and gay humour. The scene where she enters as a doctor in the first finale belongs indisputably to the wittiest performances of comic music. After the long suspense, the animation caused by the entrance of the doctor has an excellent effect, and the DESPINA. boastful loquacity and solemn conceit of the charlatan stand out from the surroundings without the need of any special medium for their expression. Every phrase is pronounced simply but with telling effect; exaggeration, which at this point of the situation would only do harm, is carefully avoided, and the general impression of unclouded gaiety is heightened by the intensity with which the other characters express their feelings. 54 The notary in the second finale is quite as humorously depicted. After an elaborate greeting, the polite elegance of which is mockingly expressed by the figure in the accompaniment, given to the second violins, the notary begins to read the marriage contract in a monotone (pel naso, Mozart directs), which is the most comic imitation of reality in its five times repeated phrase—[See Page Image] twice with additional emphasis:—

The accompaniment of the violins is different for each clause (the basses remaining the same), and increases in speed, thus producing a climax provoked by the impatient exclamations of the bridal party. The whole conception of the part of Despina may be referred to the individuality of its first performer, Signora Bussani, whose reputation was COSÌ FAN TUTTE. rather for spirit and audacity than for delicacy of expression (Vol. III., p. 97). Another example of perfect gaiety is the terzet for the three male voices (16). After the angry exit of the sisters, Guillelmo and Ferrando begin to laugh, 55 thereby increasing the discomfiture of Don Alfonso, who with difficulty persuades them to desist. The merriment of the young men, the annoyance of the old one, the laughter which they vainly endeavour to suppress, are so admirably expressed, and the triplet passage of the accompaniment adds so strikingly to the effect, that we feel the same irresistible inclination to merriment that is inspired by the countenance of an antique laughing satyr.

The counterpart to Despina is Don Alfonso, 56 who displays throughout the plot no single impulse of sympathy or good-nature, and at the same time fails to inspire interest as a purely comic character. Paltry scepticism without humour or good-temper, cold rationalism without any tinge of geniality, are not attractive in themselves, and are essentially unmusical; they can only be effective by virtue of contrast, and Don Alfonso therefore appears principally in ensembles. In the first male terzet his cool demeanour stands in excellent relief against the excitement of the young men, and Mozart has given an irresistibly droll expression to the little ballad which he mockingly sings to them (2). His sympathy in the parting scene has more delicacy of characterisation; here he keeps in the background, but the quiet remarks which he interposes add just the ingredient to the melting sentiment of the ladies which is required for the production of the right effect on the audience. As a rule, however, Don Alfonso does not express his true sentiments, and his dissimulation induces an exaggeration which is not without comic effect, but requires great refinement of delivery. It belongs to the conception of such a character that he should abstain from asserting himself independently, and therefore DON ALFONSO. no grand air is assigned to him; this may be partly owing, however, to the deficiencies of the first performer, for Bus-sani does not appear to have been much of a singer.

His two most important solo pieces are purposely so arranged as to admit of an amount of sentiment which is foreign to his true character. In the first he expresses with evident exaggeration the consternation which fills him at the afflicting intelligence which he is bringing to the sisters; it is as characteristic of the person as of the situation, and expresses at once the state of excitement which prevails throughout the following scene. Of more original design is the short ensemble movement (22) in which Don Alfonso and Despina bring the two couples together. 57 By undertaking to be the mouthpiece of the bashful lovers, Don Alfonso gains an opportunity of expressing himself with more feeling, and yet his position does not admit of any very deep or serious expression on his part. The device of making the two lovers strike in like an echo is a happy one; but Da Ponte has not turned it to the advantage of which it was capable. It is quite right that Fiordiligi and Dorabella should not join in in the same way when Despina answers for them; but to leave them quite out of the question, and to make the interest of the situation centre in the by-play of Don Alfonso and Despina, destroys the significance which this scene might have had. A teasing, jesting tone predominates throughout the movement, and is indeed in keeping with the whole opera; but we long for a little more energy and fulness of expression at the more important points. In order to place Don Alfonso in the right light, he should be shown in real perplexity, and brought thereby into the COSÌ FAN TUTTE. 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. 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. is excited by the extraordinary figures before her, while they are delighted to find that she does not recognise them.

The action begins with the entrance of the two ladies. The urgent suit of the lovers is now opposed to the strong displeasure of the sisters, Despina making common cause with the former. The declaration of love is emphasised in an unusual fashion by the transition of the harmony into a minor key, 60 by the chromatic movement of the parts, and by the clarinet, bassoon, and violoncello accompaniment. The astonishment of the two ladies at first gives a painful tone to the expression, but as soon as they have recovered sufficiently to give vent to their indignation the situation changes. The lovers rejoice in silence over this proof of fidelity, while Despina and Don Alfonso affect to find some grounds for suspicion in the very violence of the resentment displayed by the sisters. The grouping of the characters is also changed. Fiordiligi and Dorabella, divided between anger at the intruders and the remembrance of their absent lovers, stand together; on the other side the lovers join issue, and Despina and Don Alfonso observe the course of affairs together; it is with right judgment that the two latter are put prominently forward, especially at the passage—[See Page Image] for they command the situation, and this passage throws a light upon the tumult and confusion which prevail. Mozart's temperate discrimination in the use of means has here again enabled him to mould all this into a musical whole of perfect unity. The situation of the first finale is nearly allied to this, but more vividly characterised in the details, and more elaborately worked out. It begins with a very amorous THE FIRST FINALE. duet for the forsaken fair ones, introduced by a long ritornello and worked out in independent style; a counterpart to the first duet, only that here the expression is naturally more fond and languishing. The sensual, dreamy mood thus represented is broken in upon by the harsh dissonances and disjointed rhythm of the poisoning scene, and ends with a pathetic ensemble and the swooning of the lovers. During the absence of Don Alfonso and Despina in quest of aid, a calmer tone is adopted, which grows gradually more animated as the sisters express their terror and anxiety, and the lovers their satisfaction at the state of affairs, and enjoyment of the comic scene in which they are playing the chief parts. But when the sympathy displayed by the ladies at the sight of their apparent sufferings gradually becomes so demonstrative that there seems some danger of pity being transformed to love, the tables are turned, the lovers begin to be anxious, and a state of painful suspense overmasters them all. At this point there occurs one of those deeper and more delicate psychological manifestations which Mozart so well knew how to render, and in which, as usual, the orchestra co-operates. At first, two characteristic motifs which go through the whole movement, a triplet figure—[See Page Image] and an interrupted one of quite a different character— combine together, but then there enter two others— to express the painful sensations of the poisoned lovers. The orchestra carries this idea out in manifold combinations, and thus affords a characteristic groundwork for the expressions of gradually augmenting compassion. The lovers, become suspicious, now express their anxiety, and they finally all concur in a distrustful uncertainty, plaintively COSÌ FAN TUTTE. rendered by imitative chromatic passages. The entertaining and truly comic element of the situation consists in the fact that the merry trick which Ferrando and Guillelmo hoped to play takes so doubtful a turn, and that the emotions, on both sides genuine, spring from quite other sources, and take quite different directions from those which are outwardly indicated. Mozart has seized the situation with ready humour, and, as usual, the right apprehension of the dramatic part of the work has improved the conception and treatment of the musical element; this movement is in every respect a masterpiece, and belongs to Mozart's most exquisite compositions. The scene changes completely with the entrance of the disguised physician, and the key of the dominant G major, following the close in C minor, makes the same impression of freshness as the introduction of an entirely new element. 61 All is now animation and life—question and answer are rapidly exchanged, help is asked for and given, and in the midst stands the charlatan playing out the farce with due solemnity, and infusing the whole scene with wit and humour.

After the completion of the pretended cure, the lovers again come to the foreground and express their passion in extravagant ravings; the reluctance of the ladies, in spite of Despina's and Don Alfonso's persuasions, again gives a comic tone to the situation, contributing to the production of an ensemble singularly rich in contrasting sentiments. The orchestra again serves as a groundwork, and an original and persistent violin figure gives the andante a strange, somewhat solemn character, with which the voices frequently contrast in a manner highly suggestive of the situation. The instrumentation also lends its aid. Not only are the stringed instruments here employed so differently to the preceding movement that they scarcely seem the same instruments; but, whereas oboes with flutes and bassoons THE SECOND FINALE. predominated in the former case, here clarinets and bassoons are reinforced by trumpets with highly original effect. The tone-colouring alters completely at the commencement of the allegro. The flutes in unison with the violins, and the tremolo quaver accompaniment, express a decree of sensual excitement which contrasts strikingly with the calm, exalted tone of the andante. The lovers awaking from their trance and demanding a kiss, the sisters are transported with an indignation far more intense than that excited by the first encounter. Don Alfonso and Despina seek to pacify them, and an unwilling suspicion that the very violence of the resentment argues against its absolute sincerity modifies in the minds of the lovers the comic impression of the whole scene. The dramatic characterisation of all these opposing elements, the well-defined grouping of the characters, the force and fire with which the climax is worked up, and the tumult of excited emotions with which the finale ends, give it a place above the corresponding first finale in "Figaro," and on a level with that in "Don Giovanni."

The second finale begins with the wedding ceremony, which is charmingly and graphically depicted. Despina, who is joined by Don Alfonso, gives directions to the servants for the reception of the bridal party, and the whole of the first movement sparkles with life and gaiety, preparing the way for the festive chorus in which the two couples are presently welcomed. Then follows the endearing talk of the lovers, who seat themselves at table, drink to each other, and finally join in an amorous canon. This is a trait taken from the social manners of the time (Vol. II., p. 362), just as the independent treatment of the wind instruments during the whole scene represents the customary table music. 62 A startling enharmonic transition (from A flat major to E major) transports us out of this lovesick mood, and the scene which follows with the notary is as full of humour as that with the physician, although the context COSÎ FAN TUTTE. necessitates greater moderation of tone; it is effectively interrupted by the distant chorus proclaiming the return of the warriors. The consternation and confusion which ensue have no real interest for the audience, who are aware of what the issue must be; the plot is therefore hurried rapidly to an end, and does not admit of any connected musical treatment. The composer has been forced to content himself with bringing out certain points, such as the feigned terror of Don Alfonso, the real alarm of the ladies, and the joyful greetings of the returning lovers. The situation becomes more piquant when Despina unmasks, and when the lovers discover themselves as the pretended Albanians; and Mozart has rendered both these points with true musical humour. But the purely musical interest does not reassert its sway until the reconciliation has taken place, and a feeling of peace and happiness is diffused around. The last movement more especially is full of such calm and melodious beauty that we feel lifted above the vanity and triviality of so much that has gone before, and left with an impression of heartfelt gaiety and satisfaction.

A nearer examination of the opera shows that the libretto, never rising above the ordinary opera buffa, has not seldom dragged the music down to its own level. The caricature and exaggeration indispensable to this species of comic drama have indeed been made by Mozart, as far as possible, the natural outcomes of the situations and characters, and are thus justified as an artistic element of the work, but he has not been able altogether to avoid the substitution of external stage devices for psychological truth. The attempt is more visible in this work than in any other to render the meaning of the words through the senses; the accompaniment is especially rich in detail-painting, instead of being, as in Mozart's other works, called upon to add the more delicate shades of emotional characterisation. In the duet between Guillelmo and Dorabella (23) the orchestra gives the heart-beats which are made the chief point of the words; in the lovely terzet (10) the raging of wind and waves, and in the preceding quintet (9) the sobs, are distinctly expressed. Even subordinate ideas are represented GENERAL CRITIQUE. after the same realistic manner, as, among others, the drawing of the swords in the first terzet, the flourish of trumpets and clinking of glasses in the third, the piping and cannon reports in the war chorus (8), the beating of the heart in Dorabella's air (28) suggested by the quavers on the oboe, and the general clinking of glasses in the last finale by the pizzicato of the violins. 63 These are all pleasing touches, introduced without injury to more important features, but they do not reach to the same height of psychological characterisation which we are wont to admire in Mozart's operas. Other devices of opera buffa are more constantly employed here than elsewhere, especially rapidity of speech; but, on the other hand, there is no trace of any attempt at imitating national peculiarities, even when the disguises assumed might have given rise to it; Mozart could not but feel that a musical disguise of the kind would very soon, fatigue the audience. The effort to cater to the taste of the public goes hand in hand with submission to the dictates of the singers, and we find their influence far more visible in "Cosi fan Tutte" than in "Figaro" or "Don Giovanni." There is an evident effort to please individual taste in the concerted airs, and in the unusually light and pleasing melodies; such concessions cause this opera, more than any other, to resemble the best works of Italian masters.

The peculiar qualities of Mozart's nature, his refinement and nobility of thought, his wealth of productivity, and his marvellous technical knowledge, are as distinctly marked in this opera as elsewhere. The planning, the construction, the grouping of parts, are so firm, so transparently clear, that we follow even the most complicated movements with ease. The freedom and pliancy of the disposition of parts, where there occurs a combination of different characteristic melodies, the easy dexterity displayed in the employment of contrapuntal forms, co-operate to excite and rivet the attention of the hearer, without causing him any sense of effort.

The quality, however, which delights us more than any other in this opera is its delicate sense of beautiful sound, and the ease with which this sense is made evident throughout. It is a quality, no doubt, inseparable from inventive power and a talent for construction, but it is not universally effective in the same degree, and it is rare to find such a union of the forces which regulate the impression made by musical beauty upon the senses. Even the orchestra, although deficient in the delicate detail of "Figaro" and "Don Giovanni," is in other respects fuller, more brilliant, and richer in separate instrumental effects. The wind instruments are brought more forward, in more varied combinations and finer shades of tone-colouring. The clarinets are made effective, and a characteristic distinction made between their employment and that of the oboes. An original use is made of the trumpets: apart from drums they are not trumpet-like in the ordinary sense, but are used in place of the horns (not in combination with them), and mostly in the lower registers, in order to give freshness and force to the tone-colouring. Similar observations might be extended to show in detail with what refined penetration and correct judgment of effect the forces of the orchestra are made to conduce to the euphonious charm of the opera. That "Cosi fan Tutte," considered as a whole, and in respect of importance and detail of characterisation, is inferior to "Figaro" and "Don Giovanni," no competent critic will deny. Nevertheless many separate portions of the work, and the large majority of the characters, display Mozart's genius and mastery of his art in full measure of originality and brilliancy, and in many respects this opera may be held to indicate an important step in advance of all that has gone before it.