particularly 'vienmi a rinvigorir'--five i's. It is true it
is very unpleasant at the conclusion of an aria."

(Munich, December 27, 1780, to his father. Raaff was the
principal singer in the opera "Idomeneo," which Mozart had been
commissioned to write by the Elector for Munich. The observation
shows how capable Mozart was of appreciating foreign criticism.)

35. "My head and hands are so full of the third act that it would
not be strange if I were myself transformed into a third act. It
has cost me more care than an entire opera, for there is scarcely
a scene in it which is not interesting. The accompaniment for the
subterranean voice consists of five voices only--three trombones
and two French-horns, which are placed at the point from which
the voice proceeds. At this moment the whole orchestra is
silent."

(Munich, January 3, 1781, to his father, whom in the same letter
he invites to Munich to hear the opera.)

36. "After the chorus of mourning the King, the populace,
everybody, leave the stage, and the next scene begins with the
directions: 'Idomeneo in ginochione nel tempio (Idomeneus,
kneeling in the temple).' That will never do; he must come with
all his following. That necessitates a march, and I have composed
a very simple one for two violins, viola, bass and two oboes,
which is to be played a mezza voce, during which the King enters
and the priests make the preparations for the sacrifice. Then the
King sinks on his knees and begins his prayer. In Electra's
recitative, after the subterranean voice, the word 'Partono (they