was something really new to the stage.  The one quartet in Handel’s ‘Radamisto’ and the one trio in his ‘Alcina,’ magnificent as they are, are too exceptional in their occurrence to be quoted as instances, while the attempts of Rameau and his followers to impose dramatic significance into their concerted music, though technically interesting, do but faintly foreshadow the glory of Mozart.  The orchestration of ‘Idomeneo,’ too, is something of the nature of a revelation.  At Munich, Mozart had at his disposal an excellent and well-trained band, and this may go far to explain the elaborate care which he bestowed upon the instrumental side of his opera.  The colouring of the score is sublime in conception and brilliant in detail.  Even now it well repays the closest and most intimate study.  ‘Idomeneo’ is practically the foundation of all modern orchestration.

Mozart’s next work was very different both in scope and execution.  It has already been pointed out that the two first works which the composer, as a child, wrote for the stage, followed respectively the Italian and German models.  Similarly, he signalised his arrival at the full maturity of his powers by producing an Italian and German masterpiece side by side.  ‘Die Entfuehrung aus dem Serail’ was written for the Court Theatre at Vienna, in response to a special command of the Emperor Joseph II.  It was produced on July 13, 1782.  The original libretto was the work of C.F.  Bretzner, but Mozart introduced so many alterations and improvements into the fabric of the story that, as it stands, much of it is practically his own work.

The Pasha Selim has carried off a Christian damsel named Constanze, whom he keeps in close confinement in his seraglio, in the hope that she may consent to be his wife.  Belmont, Constanze’s lover, has traced her to the Pasha’s country house with the assistance of Pedrillo, a former servant of his own, now the Pasha’s slave and chief gardener.  Belmont’s attempts to enter the house are frustrated by Osmin, the surly major-domo.  At last, however, through the good offices of Pedrillo, he contrives to gain admission in the character of an architect.  Osmin has a special motive for disliking Pedrillo, who has forestalled him in the affections of Blondchen, Constanze’s maid; nevertheless he is beguiled by the wily servant into a drinking bout, and quieted with a harmless narcotic.  This gives the lovers an opportunity for an interview, in which the details of their flight are arranged.  The next night they make their escape.  Belmont gets off safely with Constanze, but Pedrillo and Blondchen are seen by Osmin before they are clear of the house.  The hue and cry is raised, and both couples are caught and brought back.  They are all condemned to death, but the soft-hearted Pasha is so much overcome by their fidelity and self-sacrifice that he pardons them and sends them away in happiness.