rt that Menes is still living, comes to take council of Sethos, and
adheres to his treacherous design. In solemn assembly Thamos is about
to be declared king, when Mirza reveals the fact that Sais is the lost
Tharsis, and heiress to the throne. Thamos is the first to offer her
his homage. When she is constrained to choose between Thamos and Pheron
she declares herself bound by her oath, and announces Thamos as the
possessor of the throne. Then Pheron calls his followers to arms, but
Sethos steps forward and discloses himself as Menes; whereupon all fall
at his feet in joyful emotion. Pheron is disarmed and led off; Mirza
stabs herself; Menes, as father and ruler, releases Sais from her oath,
unites her with Thamos, and places the pair on the throne. A message
arrives that Pheron has been struck with lightning by Divine judgment,
and the piece ends."

To this drama Mozart composed the incidental music in 1779 and 1780 at
Salzburg, where it was produced under Boehm and Shickaneder's direction.
The play did not keep the stage long. Mozart refers to this circumstance
in a letter to his father, written Feb. 15, 1783:--

"I regret much not being able to make use of the music for 'Thamos,'
for not having pleased here, it is included among the tabooed pieces,
no longer to be performed. For the sake of the music alone it might
possibly be given again, but it is not likely. It is really a pity."

The music consists of five entr'actes and three choruses constructed in a
large and majestic style and specially adapted to ceremonial performance.
The first is a responsive chorus of maidens and priests ("Before thy
Light, Sun-god, thy Foe the Darkness takes Wing") sung in the temple of
the sun at Heliopolis. The second ("Godhead, throned in Power eternal")
is also sung in the temple before Thamos' coronation, at the beginning of
the fifth act, and contains short snatches of solos for a priest and
maiden, leading to a close in full harmony for the voices, and an
instrumental finale of soft music during which the priest offers
sacrifice upon the altar. The third opens with a majestic bass solo for
the high priest ("Ye Children of Dust, come, with Trembling, adore ye")
and closes with a stately strain for all the voices ("We Children of Dust
in our Reverence tremble").

Although the play was shelved, the music was not lost. Mozart
subsequently set the choruses to Latin and German words, and they were
ada