[Musical excerpt]

From a strictly musical point of view the fundamental mood of the four personages has thus the same expression, and this Beethoven justifies by making the original utterance profoundly contemplative, not only by the beautiful subject of the canon, but by the exalted instrumental introduction—­one of those uplifting, spiritualized slow movements which are typical of the composer.  This feeling he enhances by his orchestration—­violas and violoncellos divided, and basses—­in a way copying the solemn color with more simple means which Mozart uses in his invocation of the Egyptian deities in “The Magic Flute.”  Having thus established this fundamental mood, he gives liberty of individual utterance in the counterpoint melodies with which each personage embroiders the original theme when sung by the others.  Neither Rocco nor Marcellina seems to think it necessary to consult Leonore in the matter, taking her acquiescence for granted.  Between themselves they arrange that the wedding shall take place when next Pizarro makes his monthly visit to Seville to give an account of his stewardship, and the jailer admonishes the youthful pair to put money in their purses in a song of little distinction, but containing some delineative music in the orchestra suggesting the rolling and jingling of coins.  Having been made seemingly to agree to the way of the maid and her father, Leonore seeks now to turn it to the advantage of her mission.  She asks and obtains the jailer’s permission to visit with him the cells in which political prisoners are kept—­all but one, in which is confined one who is either a great criminal or a man with powerful enemies ("much the same thing,” comments Rocco).  Of him even the jailer knows nothing, having resolutely declined to hear his story.  However, his sufferings cannot last much longer, for by Pizarro’s orders his rations are being reduced daily; he has been all but deprived of light, and even the straw which had served as a couch has been taken from him.  And how long has he been imprisoned?  Over two years.  “Two years!  “Leonore almost loses control of her feelings.  Now she urges that she must help the jailer wait upon him.  “I have strength and courage.”  The old man is won over.  He will ask the governor for permission to take Fidelio with him to the secret cells, for he is growing old, and death will soon claim him.  The dramatic nerve has been touched with the first allusion to the mysterious the matter, taking her acquiescence for granted.  Between themselves they arrange that the wedding shall take place when next Pizarro makes his monthly visit to Seville to give an account of his stewardship, and the jailer admonishes the youthful pair to put money in their purses in a song of little distinction, but containing some delineative music in the orchestra suggesting the rolling and jingling of coins.  Having been made seemingly to agree to the way of the maid and her father, Leonore seeks now to turn it to the advantage of her mission.