The orchestration of 'Idomeneo,'
too, is something of the nature of a revelation. At Munich, Mozart had
at his disposal an excellent and well-trained band, and this may go far
to explain the elaborate care which he bestowed upon the instrumental
side of his opera. The colouring of the score is sublime in conception
and brilliant in detail. Even now it well repays the closest and most
intimate study. 'Idomeneo' is practically the foundation of all modern
orchestration.
Mozart's next work was very different both in scope and execution. It
has already been pointed out that the two first works which the
composer, as a child, wrote for the stage, followed respectively the
Italian and German models. Similarly, he signalised his arrival at the
full maturity of his powers by producing an Italian and German
masterpiece side by side. 'Die Entfuehrung aus dem Serail' was written
for the Court Theatre at Vienna, in response to a special command of the
Emperor Joseph II. It was produced on July 13, 1782. The original
libretto was the work of C.F. Bretzner, but Mozart introduced so many
alterations and improvements into the fabric of the story that, as it
stands, much of it is practically his own work.
The Pasha Selim has carried off a Christian damsel named Constanze, whom
he keeps in close confinement in his seraglio, in the hope that she may
consent to be his wife.
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