reversed (8, 9); but the character, pitch, and formation of the songs differ so little that apart from the words they might easily be mistaken the one for the other. There is a second composition of the Licenza in existence, pointing by its handwriting, firm structure, and the independence and delicate treatment of the orchestra, to a considerably later date.
The three Roman heroes all sing tenor. Africanus has a great bravura song (5), with passages as high as C in alt; his second is quieter and simpler, and makes an attempt at characterisation; the image of the rock, standing immovable in the sea, is sketched in sober colours. The song of Emilius Paulus has a kind of dance measure, not very lively, and reminding us of a polonaise; the words "un fanciullin che piange" are illustrated by a chromatic scale. Finally, Scipio has two bravura songs (1, 10) with many passages, the second being remarkable for its length.
But, indeed, most of the songs are of great length, and introduced by long ritomelli. Where there is no distinct second part, the Da capo comes into use; the middle movements are short and lightly treated. The orchestra displays some freedom and independence, but is not equal to "Ascanio."
The two choruses are of the usual opera type. The first (4), in which Scipio is greeted by his ancestors, is not without power and dignity, but it has no characterisation, and is almost throughout in harmony; only once the voices make an attempt during a few bars at independent movement.
In the concluding chorus (12) the voices complete the harmony in the usual way to a running accompaniment.
[Footnote 1: Leop. v. Sonnleithner has treated thoroughly and well of Mozart's earlier operas. (Càcilia, XXIII., p. 233; XXIV., p. 65; XXV., p. 65).]
[Footnote 2: The quintet is omitted in the copy at the Paris Conservatoire, but is present in that at the British Museum (A. M. Z., 1864, p. 495). A song in the third act of the libretto, for Aspasia, is altogether omitted.]
(1) Aria for Aspasia, "Al destin che la minnacia," in G major, elaborate and rather stiff.
(8) Aria for Ismene, "In faccia al oggetto," in B major 3-4., with a middle movement, in G minor 2-4, Allegretto; pretty but not very striking.