A serious-minded analyst might be tempted to admire the profound psychology of the author in mingling doleful accents with expressions of joy, but he would have his labor for his pains.

The trio was taken from the opera _Elena e Paride_, where Gluck expressed strongly wrought up emotions.

Doret did not keep these two passages and one can't blame him.

On the other hand, he retained, by making it an entr'acte, the _Ballet des Furies_.

This was taken from a ballet, _Don Giovanni o il convitato de pietra_, which was performed at Vienna in 1761.