did and his operatic overtures are of such distinct import and
self-sufficiency that they are often detached from the opera it-
self and played as concert numbers. The Magic Flute Overture
is also noteworthy because of the polyphonic treatment of the
first theme which is a definite fugal presentation in four voices.
The second theme, beginning in measure 64, and soon repeated,
is light and winning, meant to supplement rather than to con-
trast strongly with the first theme, which indeed keeps up at the
same time, in the inner voices, its rhythmic impetuosity. The
Exposition ends with a graceful closing phrase,e.g.,
[Music]
and the usual cadence in the dominant key. It is considered that
the Adagio chords for the trombones, interpolated between the
Exposition and the Development, are suggestive of the religious
element in the play that is to follow. The Development is re-
markable for the spirited imitative treatment of the first theme,
for the bold way in which the voices cut into each other and
for the fusion of its closing measures with the Recapitulation.
The chief feature in this brilliant passage is a piling up of the
theme in stretto form (see measures 148-153). The Recapit-
ulation is somewhat shortened and the melodic outline of the
second theme is slightly changed; otherwise it corresponds with
the Exposition. After the closing phrase we have some pungent
dissonances,e.g.
[Music]
Rossini, it is said, was never tired of eulogizing this Overture
and certainly for spontaneity and vigor it is unrivalled.[130]
[Footnote 129: For a complete account of this development see
Grove’s Dict. Vol. III underOvertureand the Oxford History,
Vol. IV, page 286,seq.]
[Footnote 130: Its companion in modern literature is the Over-
ture to theBartered Bride(by the Bohemian composer Smetana),
which also begins with a brilliant fugal treatment of the theme.]
The last illustration from Mozart is hisAdagio in B minor(see
Supplement No. 43) an independent piece, far too little known,
in complete Sonata-form. The haunting pathos in the theme,
the exquisite loveliness in the whole fabric instantly reach the
hearer’s heart. Analytical comment seems quite unnecessary; a
child can “follow” the music, but only he with a ripe knowledge