Life of Mozart

—270" COSI FAN TUTTE.rendered by imitative chromatic passages. The entertainingand truly comic element of the situation consists in the factthat the merry trick which Ferrando and Guillelmo hopedto play takes so doubtful a turn, and that the emotions, onboth sides genuine, spring from quite other sources, andtake quite different directions from those which are outwardlyindicated. Mozart has seized the situation withready humour, and, as usual, the right apprehension of thedramatic part of the work has improved the conception andtreatment of the musical element ; this movement is inevery respect a masterpiece, and belongs to Mozart's mostexquisite compositions. The scene changes completely withthe entrance of the disguised physician, and the key of thedominant G major, following the close in C minor, makesthe same impression of freshness as the introduction of anentirely new element.®^ All is now animation and lifequestion and answer are rapidly exchanged, help is askedfor and given, and in the midst stands the charlatan playingout the farce with due solemnity, and infusing the wholescene with wit and humour.After the completion of the pretended cure, the loversagain come toextravagant ravings ;the foreground and express their passion inthe reluctance of the ladies, in spite ofDespina's and Don Alfonso's persuasions, again gives acomic tone to the situation, contributing to the production ofan ensemble singularly rich in contrasting sentiments. Theorchestra again serves as a groundwork, and an original andpersistent violin figure gives the andante a strange, somewhatsolemn character, with which the voices frequentlycontrast in a manner highly suggestive of the situation.The instrumentation also lends its aid. Not only are thestringed instruments here employed so differently to thepreceding movement that they scarcely seem the sameinstruments ; but, whereas oboes with flutes and bassoonsßi The change of key, simple though it is, is more marked than in the firstfinale of " Figaro " and " Don Juan." G minor follows D major, then E flatmajor, C minor, G major, then immediately B flat major, and again withouttransition D major.