felt, like all men of genius, that
here there must be no variety of idea, the musician, having hit on his
leading phrase, has worked it out in various keys, grouping the masses
and the dramatis personae to take up the theme through modulations and
cadences of admirable structure. In such simplicity is power.

"The effect of this strain, depicting the sensations of night and cold
in a people accustomed to live in the bright rays of the sun, and sung
by the people and their princes, is most impressive. There is something
relentless in that slow phrase of music; it is cold and sinister, like
an iron bar wielded by some celestial executioner, and dropping in
regular rhythm on the limbs of all his victims. As we hear it passing
from C minor into G minor, returning to C and again to the dominant G,
starting afresh and _fortissimo_ on the tonic B flat, drifting into
F major and back to C minor, and in each key in turn more ominously
terrible, chill, and dark, we are compelled at last to enter into the
impression intended by the composer."

The Frenchman was, in fact, deeply moved when all this united sorrow
exploded in the cry:

"O Nume d'Israel,
Se brami in liberta
Il popol tuo fedel,
Di lui di noi pieta!"

(O God of Israel, if thou wouldst see thy faithful people free, have
mercy on them, and on us.)

"Never was a grander synthesis composed of natural effects or a more
perfect idealization of nature. In a great national disaster, each one
for a long time bewails himself alone; then, from out of the mass,
rises up, here and there, a more emphatic and vehement cry of anguish;
finally, when the misery has fallen on all, it bursts forth like a
tempest.

"As soon as they all recognize a common grievance, the dull murmurs of
the people become cries of impatience. Rossini has proceeded on this
hypothesis. After the outcry in C major, Pharoah sings his grand
recitative: _Mano ultrice di un Dio_ (Avenging hand of God), after which
the original subject is repeated with more vehement expression. All
Egypt appeals to Moses for help."

The Duchess had taken advantage of the pause for the entrance of Moses
and Aaron to give this interpretation of that fine introduction.

"Let them weep!" she added passionately. "They have done much ill.
Expiate your sins, Egyptians, expiate the crimes of your maddened Court!
With what amazing skill has this great painter made use of all the
gloomy tones of music, of all that is saddes