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[ Hogarth, Mem. of the Opera, II., p. 198.]
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[ Another musical surprise at the close of Electra's second aria is expressive of the dramatic situation. The last note of the voice passes into a march heard in the distance, and beginning with the second part, so that the audience is at once transported into the midst of it. Mozart has employed the same musical expedient in the march in "Figaro," and Spohr in the minuet at the beginning of "Faust.">[
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[ As one example among many, I may quote Idomeneo's prayer (26). The pizzicato violin accompaniment, imitating the harp, is enlivened by the division of the passage among the strings; then comes an independent fully appointed passage for the wind instruments, with an harmonic movement increasing to a climax, which has an original colouring by means of its peculiar sound effects. And the repetition shows us a new development of the previously given elements. A partiality for certain passages for the wind instruments, mostly in thirds and sixths, is apparent both in "Idomeneo" and in the choruses to "König Thamos"; it is observable elsewhere, but in moderation.]
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[ For the quintet on which it was founded see p. 94. The serenata was afterwards made use of in many combinations.]
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[ Schinck (Litterar. Fragm., II., p. 286) describes a concert of Stadler's in Vienna, 1784: "I have heard a piece for wind instruments by Herr Mozart to-day. Magnificent! It consisted of thirteen instruments, and at every instrument a master! The effect was grand and magnificent, beyond description!">[