Life of Mozart

FINALES. . 103mated variety, moving onwards in close connection, buteach one keeping its ground long enough to give amplescope for musical elaboration.^* The situations thus give riseto the eight movements, distinct in design and character,which form the finale. The masterly combination of the differentmovements is more effective than would be any amountof emphasis laid on particular points of characterisation. Thefinale opens with a manifestation of intensest passion—theCount glowing with rage and jealousy, the Countess, woundedto the heart, trembling at the consequences of her imprudence.In no other part of the opera is the pathetic elementso prominent, the conflictbeing so strongly expressed that aserious catastrophe appears inevitable. But Susanna's unexpectedappearance brings about an explanation, whichcould not be more aptly expressed than by the rhythmicalmotif of the second movement.^^ Susanna's mocking merriment,which for the moment rules the situation, is in somedegree moderated by the uncertainty of the two others.The want of repose of the following movement alters thecharacter again, while the chief characters have to adaptthemselves to their change of relative position. The Counthas to propitiate his wife, without being altogether convincedhimself; the Countess's anger and forgiveness both comefrom the heart, but she feels that she is not now quite in theright. Susanna is exerting herself to bring about explanationand reconciliation, and in so doing takes involuntarily, as itwere, the upper hand of the Countess. It is a mimic war,carried on in the most courteous manner; every emotion isbroken and disturbed.Now let us turn to the music. A succession of shortmotifs, each of which characterises a particular element ofthe situation, are loosely put together, none of them independentlyworked out, one driving out the other. But the3* This connected construction of the different sections of the finale is seldomto be found ; they are generally merely successive scenas, as, for instance, inCasti's " Re Teodoro."85 Mozart has written above it, " Andante di molto," and not " Andante conmoto " as it is printed ; and it may further be noted that Susanna comes outof the closet " tutta grave."