The second finale begins with the wedding ceremony, which is charmingly and graphically depicted. Despina, who is joined by Don Alfonso, gives directions to the servants for the reception of the bridal party, and the whole of the first movement sparkles with life and gaiety, preparing the way for the festive chorus in which the two couples are presently welcomed. Then follows the endearing talk of the lovers, who seat themselves at table, drink to each other, and finally join in an amorous canon. This is a trait taken from the social manners of the time (Vol. II., p. 362), just as the independent treatment of the wind instruments during the whole scene represents the customary table music.[62] A startling enharmonic transition (from A flat major to E major) transports us out of this lovesick mood, and the scene which follows with the notary is as full of humour as that with the physician, although the context
necessitates greater moderation of tone; it is effectively interrupted by the distant chorus proclaiming the return of the warriors. The consternation and confusion which ensue have no real interest for the audience, who are aware of what the issue must be; the plot is therefore hurried rapidly to an end, and does not admit of any connected musical treatment. The composer has been forced to content himself with bringing out certain points, such as the feigned terror of Don Alfonso, the real alarm of the ladies, and the joyful greetings of the returning lovers. The situation becomes more piquant when Despina unmasks, and when the lovers discover themselves as the pretended Albanians; and Mozart has rendered both these points with true musical humour. But the purely musical interest does not reassert its sway until the reconciliation has taken place, and a feeling of peace and happiness is diffused around. The last movement more especially is full of such calm and melodious beauty that we feel lifted above the vanity and triviality of so much that has gone before, and left with an impression of heartfelt gaiety and satisfaction.
A nearer examination of the opera shows that the libretto, never rising above the ordinary opera buffa, has not seldom dragged the music down to its own level. The caricature and exaggeration indispensable to this species of comic drama have indeed been made by Mozart, as far as possible, the natural outcomes of the situations and characters, and are thus justified as an artistic element of the work, but he has not been able altogether to avoid the substitution of external stage devices for psychological truth. The attempt is more visible in this work than in any other to render the meaning of the words through the senses; the accompaniment is especially rich in detail-painting, instead of being, as in Mozart's other works, called upon to add the more delicate shades of emotional characterisation. In the duet between Guillelmo and Dorabella (23) the orchestra gives the heart-beats which are made the chief point of the words; in the lovely terzet (10) the raging of wind and waves, and in the preceding quintet (9) the sobs, are distinctly expressed. Even subordinate ideas are represented