as at the famous "Ma in Ispagna son già mille e trè"; but the orchestra,
in lively motion all the time, betrays the reminiscence of jovial and
licentious adventures which is passing through the mind of the speaker.
He grows warmer over his description of his master's tastes and habits,
and gives full expression to every detail, until his final malicious
apostrophe, "Voi sapete quel che fa," is given with undisguised mockery.

Those who have heard how Lablache sang--[See Page Image]

Quel che fa under his breath, and a little through his nose, with an
indescribable side glance at Elvira, can have an idea of the comic
ill-nature which Mozart meant to throw into this conclusion.

The characterisation, appropriate in every detail and inimitable in its
rendering of Leporello's secret complacency,[156] can only be rightly
appreciated with the Italian words; the German translation is most
faulty where the musical treatment demanded the strictest accuracy;
the mode of expression, too, is purely Italian, sometimes only
comprehensible in conjunction with Italian pantomime. When indeed he
extols "nella bionda la gentilezza, nella

{DON GIOVANNI.}

(180)

bruna la costanza, nella bianca la dolcezza," the expression is
universally applicable, and the _grande maestoso_ rises plainly before
the minds of all; but when we come to--[See Page Image]

the proper effect cannot be rendered in German. In the streets of any
town in Italy it may be observed how, when anything is to be described
as small, the person describing it repeats the word eight or ten times
with great rapidity, lowering the hand by degrees nearer and nearer to
the ground; and the action could not possibly be better indicated than
in this place by Mozart. There is a similar effect in the terzet (Act
II., 2) where Leporello cannot contain his laughter--[See Page Image]

Se se-gui-ta-te ri-do, ri-do, ri-do, ri-do, ri-do, ri-do, ri-do,
ri-do, ri-do, ri-do, and the silent internal chuckle of the Italian
is musically expressed to perfection. More especially has the rapid
utterance, one of the principal devices of opera buffa, a totally
different signification in Italian and German. It is not natural to the
German, and appears either exaggerated or vulgar; it should therefore
be seldom and carefully employed as a means of characterisation. For
an Italian, on the contrary, rapid speech, for which his language is
so well adapted, is the natural expression of excitement, and the
only question for him is whether he shall give vent to his feelings or
exercise control over them. In Italian opera it is used without
scruple, and without in itself aiming at making a comic impression; the
circumstances, persons engaged, and manner employed give the character
of the piece. In the part of Leporello the rapid parlando has a
very different expression in different situations, and can always be
justified on psychological grounds. But it is by no means exclusively
the characteristic of comic persons. In the first finale (Act I., 13)
Masetto's rapid outpouring of jealous rage, Zerlina's fear and distress,
are not intended to move the

{THE RAPID PARLANDO.}

(181)

audience to laughter; they merely give natural expression to their
feelings, and it is the situation which produces the comic effect.
These characters, it is true, belong to the lower classes, to whom some
indulgence might be accorded in respect of good manners; but even Don
Giovanni makes free use of his tongue when he ceases to exercise control
over himself. In his intercourse with Leporello especially he allows
much freedom to his servant, and lowers himself to the same level; this
is of course made apparent in the musical expression, and various
small indications of a free and easy tone of conversation have an
extraordinary effect on the free and vivid conception of the whole. In
the short duet (Act II., 1) in which he appeases the incensed Leporello,
he expresses himself altogether after the manner of the latter, but it
must be remembered that Leporello is really highly indignant, while Don
Giovanni is only in joke all the time; in this contrast consists the
comic point of the situation. Again, too, in the first finale, when he
loses presence of mind for a moment, he falls into this rapid utterance
with the words: "È confusa la mia testa," which, as soon as he has
collected himself, ceases again with the words "ma non manca-in me
coraggio." In the quartet (Act I.) the danger threatening him
through Elvira excites him so greatly that in counselling her to be
careful--"Siate un poco più prudente"--the rapidity of his address
betrays his own loss of self-control. There is something of a comic tone
in this, but the gravity of the situation does not allow it to go beyond
a mere shade, and even this rapid parlando ought not to assume a really
buffo character. Elvira herself, with the unbridled passion of her
nature, gives vent to her anger in winged words, which are certainly not
calculated to produce a comic effect. Donna Anna, on the other hand,
and Don Ottavio, persons of high birth and breeding, never so far lose
command over themselves as to fall into this hurried speech. The quartet
just mentioned is one of the finest instances of the quality and extent
of Mozart's genius. The conversation between Donna Anna, Don Ottavio,
and Don Giovanni is most unexpectedly interrupted by the warnings of
Elvira; the two first are amazed, and uncertain what to make of it,

{DON GIOVANNI.}

(182)

while Don Giovanni, alarmed, seeks by deception to keep them in
uncertainty, and to silence Elvira. All this gives rise to a genuinely
musical variety of mood tinged with melancholy by the grief of Donna
Anna and Don Ottavio. A most prominent feature of the whole is the
skilful grouping. Donna Anna and Don Ottavio are inseparable, and form
the nucleus of the piece; Elvira and Don Giovanni, though in opposition,
are sometimes together, and sometimes in conjunction with the other two.
The situation demands that Elvira shall be most frequently isolated,
in contrast with the three remaining characters; and as her passionate
excitement keeps her in the foreground, she gives the tone to the whole
piece, and Don Giovanni is constrained to follow her, while Don Ottavio
and Donna Anna only occasionally emerge from their mood of anxious
contemplation. A touch of dramatic truth is the adoption by the
orchestra and other voices of Elvira's motif to the words--[See Page
Image]

so that it seems to be the key to the riddle forcing itself on the
ear and betraying Don Giovanni's guilt. The motif recurs after all the
reproaches, questions, and appeals, and dies away in gentle but pained
reproach when the true position of affairs is left unexplained. The
suspicion which here enters the mind of Donna Anna prepares the way for
the conviction which forces itself upon her that Don Giovanni is the
murderer of her father. The grouping of the voices is treated primarily
as a means of psychological characterisation. The entrance of Elvira
in the second finale gives Leporello a moral shock which brings him
musically _en rapport_ with Elvira, and their parts are therefore in
correspondence; indeed, towards the end they are in close imitation[157]
and opposed to that of Don Giovanni. In the

{DON GIOVANNI.}

(183)

terzet again (Act II., 2), Leporello is first associated with Don
Giovanni and afterwards with Elvira, whom he begins by reviling, but
who later arouses his sympathy, while Don Giovanni holds aloof from
them both. This power of grouping the parts so that they shall serve the
purposes of psychological and dramatic characterisation as well as of
musical construction, is observable in every one of the ensemble pieces.

L. Bassi (1766-1825), who is described as an excellent and well-trained
singer, and as a man of fine exterior and pleasing manners,[158] was, we
are told, very much annoyed that, as the chief personage of the opera,
he had no grand air to sing; this was probably felt by others as a
blemish in the work. If the nature of Don Giovanni had at all resembled
that of Faust, he could not have failed to give some expression to the
mental conflict between sensuality and misanthropy on the one hand,
and the impulses of his higher moral nature on the other; and such a
conflict would have lent itself readily to musical representation.
But Don Giovanni has no scruples of the kind; the gratification of his
desires is his sole object, and to this he devotes himself in all the
consciousness of his own strength. Danger entices him as calling forth
his powers; he delights in jests which demonstrate his superiority to
his victim, and sensual enjoyment is his only real object in life. He
pursues it neither with the lust of a fiend nor with the passion of
a strongly moved nature, but with a reckless abandonment to sensual
impulses taking absolute possession of all his faculties, and so coming
into momentary contact with the nobler capabilities which exist in every
soul. Imposing strength, external refinement, a jovial and even humorous
manner are, indeed, far from ennobling or dignifying such a character;
but they render it less despicable, and reflect line for line the
manners of the age which produced Tirso's "Don Juan" and Da Ponte's
"Don Giovanni." Music, which in its very nature gives preference and
expression to the emotional element of the human mind,

{DON GIOVANNI.}

(184)

was the only fitting exponent of such a creation in the world of
art.[159] A nature such as that of Don Giovanni does not express itself
in monologue, but in action, and we learn to know him almost exclusively
in his relations to others. It is only when he is directing Leporello to
prepare a costly banquet, and abandoning himself to the anticipation of
the enjoyment it will afford him, that he gives musical expression to
his excitement in an air, or rather in a _Lied_ (Act I., 11). His mind
is engrossed with the idea of the ball, and he predicts the situation
which actually occurs in the finale; even the three different dances are
mentioned by name:--

     Senza alcun ordine
     La danza sia
     Chi l' minuetto
     Chi la follia
     Chi 1' alemanna
     Farai ballar.

Starting with this idea, Mozart has given him a simple and very lively
dance song to sing, in which nothing of the higher passions and still
less either of demoniacal lust or noble sentiment can be traced, but
only a very powerful expression of sensual impulse in a sort of fleeting
paroxysm. The very pleasing and impressive melody, the simple harmony,
the marked rhythm, and especially the instrumentation, all combine to
produce a happy effect. The flutes and violins, which lead the melody
almost without interruption, maintain the dance-like character of the
song, and the uniformly rapid movement of the accompaniment produces
a singular degree of excitement, enhanced by the strong accents of the
wind instruments. So again, the digression into the minor key, making
the sting of

{DON GIOVANNI--AIRS.}

(185)

unbridled passion to be felt in the very indulgence of it, is of very
striking effect. The serenade (Act II., 3) is of a totally different
character; Mozart has written _Canzonetta_ against it. Don Giovanni here
pours out the whole warmth of his feelings towards the fair one whose
heart he hopes to win. The Italian version of the song has a national
character both in rhythm and language; it is of little consequence
whether Don Giovanni is supposed to be singing a well-known song, or
improvising one. The irresistible, insinuating flattery of this song,
the state of voluptuous longing which it expresses, have the same sort
of effect upon us as the dazzling colour and intoxicating perfume of
some rare exotic flower; there is nothing, even in Mozart, which can
be compared to it. The effect of the charming melody, and of the
well-chosen harmonies, is much enhanced by the _pizzicato_ mandoline
accompaniment supported by the stringed instruments. The tender,
curiously vibrating tone of the metal strings of the mandoline seems
inseparable from the sweet gracefulness of the song; the instrument was
then in common use (Mozart has written several songs to the mandoline,
Vol. II., p. 371, note), and its effect was thus all the more
characteristic.[160]

The only real air which Don Giovanni sings, he sings not as Don
Giovanni; disguised as Leporello, he is giving Masetto and his
companions directions for catching himself, and the musical
characterisation must therefore approach burlesque. This air (Act II.,
4), "Metà di voi qua vadano," belongs undoubtedly to those original
conceptions which one admires without exactly understanding how they
have been brought about. The situation in itself affords no proper
musical impulse; it treats merely of the posting of scouts, of
communication by signals, the speaker himself being thrown into a
dubious light by reason of his disguise, and none

{DON GIOVANNI.}

(186)

but a great genius could have found in this place a nucleus round which
to develop a musical masterpiece. The character of the piece is of
course buffo, not only because Don Giovanni is playing the part of
Leporello, but because he is himself thoroughly enjoying the trick he
is playing Masetto; these motives must therefore be blended. It is only
necessary to compare this song with those of Leporello (Act I., 4; II.,
7), to appreciate the essential difference in their style. The
rapidly spoken passages give a tone of vulgarity, which is relieved by
occasional involuntary expressions of greater dignity; passages such
as--[See Page Image]

could not have been sung by Leporello; they show us the cavalier
beneath his disguise. In accordance with the situation the voice is
kept parlando; and the orchestra to which the constructive detail is
intrusted is so independently treated that it might without injury
dispense with the voice, although each is in fact the necessary
complement of the other. The mysterious importance and the apparent
confidence of Don Giovanni, which form the fundamental motif of the
situation when contrasted with the earnest attention and curiosity of
the country people, are humorously conceived and the orchestra renders
every turn of what is passing in the minds of all concerned. But, in
spite of this, the musical characterisation can only be made fully
effective by suitable pantomime on the part of all the characters, even
of those who do not speak, except through the orchestra. Don Giovanni's
true character, however, is not displayed until he comes in contact with
the other, and more especially with the female, characters of the
opera. His seductive powers are first practised towards Zerlina. She is
represented as a simple village

{ZERLINA.}

(187)

maiden; and the little duet (Act I., 5) which she sings with her
affianced lover amid the joyful acclamations of their friends, expresses
innocent gladness in the simplest possible manner and with quite a
popular tone.[161] Don Giovanni is the first to arouse sentiments which
have hitherto slumbered unsuspected in her bosom. The simple peasant
girl becomes an easy prey to the elegant man of the world; her vanity
is flattered by his condescension, and his way of expressing the tender
emotions excited in him by sensual gratification impresses Zerlina's
innocent mind with a conviction of truthfulness, and rouses so
irresistible a love towards him that all other considerations are cast
into the shade. This is the main idea expressed in the duet (Act I.,
6), wherein Don Giovanni makes speedy conquest of Zerlina's heart. The
feeling of mutual satisfaction to which they both yield, as it has
been preceded by no strife of passions, gives rise to an expression of
unalloyed happiness cradled in softest, warmest sunlight. The second
part was indeed required to contain more of fire and passion, but the
truth of the characterisation has probably suffered thereby. Zerlina's
nature is neither deep nor passionate, but light and impressionable; and
Don Giovanni's chief weapon is his power of assimilating himself to the
woman whom he designs to attract. This point has been made admirable use
of by Mozart.[162] Such a broad psychological fact is, however, easy
to represent; that which can neither be analysed nor reproduced is the
effect of the tender intensity of the simple notes, which penetrate the
soul like the glance of a loving eye.

At the second interview between the two the state of affairs is
considerably modified. Zerlina has been warned by Elvira; she has just
calmed Masetto's jealousy with some difficulty, and is aware that he
overhears; she seeks, therefore, to repel

{DON GIOVANNI.}

(188)

Don Giovanni, though conscious that he has lost none of his old
attraction for her. He knows this, and answers her petition for
mercy with her own motif, whereby the love-making is as delicately
characterised as immediately afterwards his astonishment at finding
Masetto in ambush, and the quick presence of mind with which he
ceremoniously greets him, whereupon Don Giovanni's own phrase is
mockingly repeated by Masetto. The orchestra, after accompanying the
lovers with strains as tender as their own, here gives inimitable
expression to suppressed scorn and resentment. The dance music is heard,
however, and relieves the strain; all except Zerlina feel the relief,
and hasten within. As the festivities proceed, and Zerlina, watched by
Masetto's jealous eyes, endeavours to elude Don Giovanni's pursuit of
her until he leads her to the dance and then carries her off,[163]
the complicated situation is characterised, as a whole, with firm and
distinct touches, and the individual points are allowed to fall into the
background. When she has been delivered from Don Giovanni's hands her
feelings for him have undergone a revulsion, and henceforward she is
found among the number of his pursuers. Her passing inclination for the
libertine has, however, roused into life a germ which is fostered and
developed by her relations towards Masetto. At first her intercourse
with her lover is unreserved and entirely happy. Masetto is represented
as a course, jealous, but good-natured clown, and appears at a
disadvantage when compared with Zerlina, Don Giovanni, or even with
Leporello. Mozart has sketched his figure for us in simple graphic
lines, never bringing him to the foreground, but always giving him his
right place in the ensemble movements, to which he contributes his share
of life and colour. He only asserts himself once in an air, when Don
Giovanni is sending him away in order to be alone with Zerlina. This is
of a decidedly buffo character, and, compared with the

{MASETTO--ZERLINA.}

(189)

airs of Don Giovanni and Leporello, affords a totally distinct but
equally faithful picture of character; His indignation, only restrained
from respect for the great man, which would fain vent itself in ironical
bitterness, his coarse sarcasm, which he intends to be so delicate
and biting, are admirably characterised. The very first motif of the
orchestra, where the ominous horns are again distinctly heard--[See Page
Image]

at which he exclaims, "Ho capito, signor si," shows by the monotonous
repetition of increasingly emphatic bars how engrossed he is in the one
idea which has taken possession of his mind. The two motifs with which
he sarcastically addresses Zerlina and Don Giovanni are also admirably
characteristic; and equally so the conclusion, where he does not know
how to stop; and the syncopated rhythm adds not a little force to the
expression of his perplexity.

Zerlina's two airs are in vivid contrast to the coarse and boorish,
but honest character of her lover. They express neither affection nor
tenderness, but rather the consciousness of her own superiority, which
her intercourse with Don Giovanni has revealed to her. Hers is one of
those easy natures which are volatile without being actually untrue,
whose feelings are the children of the passing moment, and whose charm
is enhanced by the excitement of the moment. The master has inspired
this lovely and graceful form with a breath of warm sentiment, without
which she would be cold; and her roguish smile saves her from the
reproach of mere sentimentality. The first air (Act I., 12) takes its
tone from Zerlina's desire to pacify Masetto; but there is no trace of
a need for forgiveness--of the consciousness of an unlawful love; she
disarms her lover's wrath with caressing tenderness, and gives him
glimpses of bliss which he is far too weak to resist.

It would be impossible to conceive a more charming love-making, and no
false note of sentimentality mars the graceful picture. The obbligato
violoncello lends itself in a singular degree to the individual
characterisation, its restless

{DON GIOVANNI.}

(190)

movement and soft low sound standing in happiest contrast to the clear
fresh voices; the accompaniment completes what the singer leaves unsaid.
It portrays the anxious hesitation in the minds of both the lovers; and
not until the second part does the motion flow free and full, till all
resentment dies away in gentle murmurings. The second air (Act II.,
5), corresponds to a different situation. Masetto has been beaten,
and Zerlina tries to console him; if she were to put on an air of
sentimental gravity it would appear absurd; the roguish playfulness with
which Mozart has endowed the broader merriment indicated by the words is
far more appropriate here, and gives the expression of pure and tender
grace, which renders this one of the most attractive of songs. The
clearness and brightness of the instrumentation compared with that of
the first air is very striking.

Very different is Don Giovanni's behaviour towards Elvira.

This ungrateful part of a deserted mistress has for the most part been
neglected. If a great artist, such as Schroder-Devrient, had conceived
the idea of embodying on the stage the dignified character of Elvira
as Mozart created it, the representation of the opera would have been
placed on an altogether different footing. Elvira is in an outward
position of equality with Don Giovanni. She is his superior in nobility
of mind, and she has been deeply injured by him. Her first air (Act I.,
3)[164] shows her as a woman of strong character and passionate feeling,
as far from the ladylike reserve of Donna Anna as from the youthful
grace of Zerlina. As unreservedly as she had given her love to Don
Giovanni does she now yield to her thirst for revenge, and even this
proceeds not so much from injured pride as from disappointed love,
ready to burst in new flames from its ashes. The tone-colouring of the
instrumentation in this air is in very striking contrast to that of
the previous songs; clarinets are used for the first time, and with the
horns and bassoons (no flutes) give a full and brilliant effect. Don
Giovanni overhearing her, and sympathising with her while

{ELVIRA.}

(191)

not recognising her, together with the running comments he makes on her
to Leporello, add a mixture of humour to the scene which could not
be more gracefully expressed. The laugh is unsparingly turned against
Elvira, and is occasioned by the passionateness with which she has
compassed her own discomfiture. The musical rendering clearly shows that
in her proper person she remains unaffected by it. Resolved to pursue
Don Giovanni, and defeat his machinations, she intercepts him as he
is hastening into his casino with Zerlina, and exclaims to the deluded
maid:--

     Ah! fuggi il traditor!
     Non lo lasciar più dir;
     Il labbro è mentitor
     E falso il ciglio!
     Da' miei tormenti impara
     A creder a quel cor
     A nasca il tuo timor
     Dal mio periglio!

This air, unlike the rest of the opera, retains the form of the older
school, then still frequently heard in church music.[165] Apparently
Mozart made use of the severe, harsh form which at once suggests the
idea of sacred music to the hearer, in order to give the impression of a
moral lecture, and to emphasise the contrast with the "gay intoxication
of self-forgetfulness" of the rest of the scene.[166] This mode of
address was appropriately and suggestively employed towards the peasant
maid; but Elvira adopts quite another tone when she returns and finds
Don Giovanni in close converse with Donna Anna. In the quartet (Act I.,
8) (likely 9, DW) her warning, in accordance with the exalted rank of
the mourners, takes a plaintive tone, and her passion only flares up
again when roused by Don Giovanni's duplicity. Then she comes forward,
and her energetic tone predominates in the ensemble movements, although
the silent power of true nobility and grief exerts a moderating
influence on her expressions of passion. She makes a similar impression

{DON GIOVANNI.}

(192)

in the first finale (Act I., 13). She has explained herself to Donna
Anna and Don Ottavio, and they are leagued together to watch and to
expose Don Giovanni. When they appear masked in front of the casino she
encourages them to act boldly; Don Ottavio chimes in with her, but Donna
Anna is seized with maidenly fears face to face with such an adventure.
All this is expressed in the most admirable manner, and a few touches
suffice to place the two women before us in all the dissimilarity of
their natures. The accompaniment, too, is unusually characteristic.
In sharp contrast to the cheerful excitement in which Don Giovanni,
Zerlina, and Masetto make their exit stands the mournful accompaniment
to Elvira, while Don Ottavio's powerful tenor notes are infused with
additional energy by the accented passage? for the wind instruments. The
accompaniment, without altering its essential character, adopts at Donna
Anna's entrance an anxious plaintive tone expressive of the purity
and elevation of her mind. After a short colloquy with Leporello, who
invites them to enter, the three, confident in the justice of their
cause, prepare for their difficult enterprise. After the restless energy
of the previous scene this clear and composed expression of a deeper
emotion diffuses a sense of calm beneficence. The construction of the
movement places Donna Anna and Don Ottavio in close juxtaposition;
Elvira is placed in opposition to them and, in accordance with her
character, she is more animated and energetic. Here again the desired
effect is much strengthened by the support of the orchestra. It was
unusual to make use of the wind instruments alone in accompaniments; and
in addition to this the full soft sound of the extended chords contrasts
strikingly with the deep tones of the clarinets, heard now for the
first time. What a contrast it forms, too, to the tone-colouring of
the preceding movement; one feels for the moment transported to another
world. Scarcely have the last echoes died away when the sharp attack of
the orchestra on the following movement brings us down to earth again.
In the scene which follows it is Elvira who is ever on the watch--who
with Don Ottavio intercepts and

{ELVIRA--TERZET.}

(193)

unmasks Don Giovanni; after that she falls into her place with the rest.
Implacable as Elvira shows herself in her pursuit of revenge on Don
Giovanni, her love for him has taken such deep root in her heart, his
personality exercises such a magic power over her, that she is ready to
forget all that is past, and to trust herself to him again. Poetry could
only make this visible by means of a chain of connecting links; music
is happier in its power of rendering the most hidden springs of human
action; once let the right key be struck, and the state of mind to be
represented is there. And seldom has a frame of mind incapable of verbal
description been so truly and beautifully expressed as in this terzet
(Act II., 2). A short ritomello places the hearer in a frame of mind
which enables him to give credence to what he is about to learn. Elvira,
alone in the twilight, comes to the window; old memories awaken old
feelings, which, while she deplores them, she cannot escape. Don
Giovanni, who is present, resolves to turn this softened mood to
account; he wishes to drive Elvira away, and a fresh triumph over her
affections is a satisfaction to his arrogant vanity. Leporello in his
master's hat and cloak is made to advance, and Don Giovanni, concealed
behind him, addresses Elvira tenderly in the very notes which have just
issued from her mouth. Don Giovanni's appeal comes to her like an echo
of her own thoughts. She interrupts him with the same lively reproaches
which she has already uttered to herself, while he prays for her pity
with the most melting tenderness. Elvira is overcome, and thereupon very
appropriately the motif occurs with which Leporello first expressed his
consternation at Elvira's appearance. Don Giovanni persists all the more
urgently in the same tone, and the turn of expression just alluded to
is developed, with a startling impetus produced by the transition to the
key of C major, into a cantilene of entrancing beauty.[167]

{DON GIOVANNI.}

(194)

He answers Elvira's violent reproaches ("con transporto e quasi
piangendo," Mozart has noted them) with exclamations of increasing
passion, and threatens to kill himself if she does not grant his prayer.
The feeling that Elvira must yield to so passionate an outburst of
the love towards which her heart impels her is mingled with a sense of
Leporello's ludicrous situation, and we feel no incongruity in his fit
of laughter. But when Elvira actually yields, even Leporello cannot
withhold his sympathy from her, while Don Giovanni mockingly triumphs
in his victory. In a certain sense the two have exchanged their parts as
well as their clothes. This terzet may safely be cited as an example of
how simplicity of design and regularity of construction may unite with
perfect beauty and truth of expression into a piece of genuine dramatic
characterisation; but who can express in words the tender fragrance of
loving desire which breathes from the music like the perfumes from an
evening landscape? If we are to infer Don Giovanni's character from
the duet with Zerlina (Act I., 6), the serenade (Act II., 3), and this
terzet, we have the picture of an engaging and amiable personality which
strikes every tone of affection and desire with bewitching grace and
delicacy, and with an accent of such true feeling that it is impossible
for the female heart to withstand him. This is not the whole of Don
Giovanni's character, however. When Elvira's weakness has betrayed her
into an equivocal position, Don Giovanni's heartless insolence places
her in a situation which only Leporello's comic character prevents from
becoming an exceedingly painful one. The fear which takes undisputed
possession of him during the interview reflects a comic light upon
Elvira, but without interfering with her preconceived character. Mozart
has succeeded admirably in the sestet (Act II., 6) in maintaining
Elvira's dignity of deportment both towards the craven Leporello and her
former allies; she never sinks below herself; but the consciousness of
her weakness and of the dastardly trick played upon her has broken
her spirit. There is no trace of the energetic, flaming passion of the
earlier Elvira; Donna Anna's pure

{ELVIRA--INSERTED AIR--FINALE.}

(195)

form rises high above her, and she no longer takes the lead in the
expression of astonishment and indignation. After the sestet, when
Leporello had escaped from the hands of Zerlina, there was inserted
in Vienna an air for Elvira, in which the violence of her passion is
moderated to a degree almost incredible. The softened mood in which the
feeling of her inextinguishable love is expressed no longer as anger
against the traitor, but as pity for the lost sinner, is, when rightly
delivered,[168] most admirably represented; but the dignity and
nobleness which have stilled the waves of sorrow and revenge are not
really consistent with the fire and force of the true Elvira. Then,
also, the accents of disappointed love, which Mozart knew how to evoke
with such masterly insight, are scarcely present at all in this air.
Nevertheless, considered musically it is of great beauty, and the voices
are most effectively supported by obbligato solo instruments, which are
never elsewhere used in exactly the same way by Mozart. This charming
piece is not inappropriate in its own place, but it does not render
either situation or character with the same breadth or accuracy which
Mozart elsewhere displays in "Don Giovanni." Any idea of a closer
connection with Don Giovanni being now out of the question, Elvira,
feeling also that her own existence is rendered worthless, resolves to
enter a convent. But her character and her undying affection forbid her
to part for ever from Don Giovanni without calling him to repentance and
amendment. Her entrance in the second finale interrupts the merriment of
Don Giovanni and Leporello at table, and, like a landscape in changing
lights, the whole tone of the music is altered at a stroke.[169] Her
warning here is very different to that which she addressed to Zerlina.
A stream of glowing words comes from the very depths of her love-tossed
heart, and beats in vain against the overweening pride of her heartless
betrayer. At first he seeks to treat her appeal as a jest, which may be
humoured; and when her prayers, her tears, her dismay are thereby

{DON GIOVANNI.}

(196)

redoubled, he mocks at her with all the frivolity of his
pleasure-seeking nature. This is too much even for Leporello: he
sympathetically approaches Elvira; and the effect is very fine, when
the same notes which seemed to threaten annihilation by their weight at
Elvira's entrance are heard from the mouth of Leporello. Don Giovanni's
overbearing insolence increases and calls down upon him the fate to
which, now that even Elvira has left him, he is doomed to hasten.
This scene is again a very masterpiece of high dramatic art. A flow of
passionate emotion, like a lava stream down the mountain side, succeeds
to the loosely connected musical jests of the supper-table. The very
change of tone-colouring is of the greatest significance. The first
noisy and brilliant movement, with its trumpets and drums and lively
passages for the stringed instruments, is succeeded by the arranged
harmony music, against which the full orchestra, with the combined
strength of wind and stringed instruments, stands in bold relief. Don
Giovanni and Elvira are here for the first time opposed on equal terms.
Her passionate emotion is purified and ennobled without any loss of
strength or reality; and he displays an energy and keen enjoyment of
life which would have something great in it if it were directed to
higher aims, but which here excites only horror. It prepares us for
the resistance which he is to make to the spectral apparition; but the
insolent scorn with which he hardens himself against Elvira's prayers
is more shocking to the feelings than his determined resistance to
the horrors of the nether world, wherein we cannot but grant him our
sympathy. Sharply accented as are the mocking tone of mind and the
sensuality of Don Giovanni, we never find him vulgar or revolting. This
is due to the combination of strength and boldness with beauty of form
in the music allotted to him. What can be more impressive than the
oft-repeated motif given to Don Giovanni:--[See Page Image]

{DON GIOVANNI'S CHARACTER.}

(197)

with no support but a simple bass, in strong contrast to the rich
accompaniment elsewhere employed? His good breeding is as characteristic
of him as his love of enjoyment, and is shown at his first entrance
in his behaviour towards Donna Anna and the Commendatore. There is no
roughness in his struggle with her, and he would fain avoid violence, as
also in the combat with her father; not until his honour as a cavalier
has been touched to the quick does he draw his sword, and the result of
the duel causes him genuine emotion. True, his nobler impulses are not
of long duration; he is destitute of generosity or nobility of mind, and
his highest quality is mere brute courage. In the churchyard scene, when
his arrogance has brought matters to a crisis, and Leporello has
made his terrified exit, the horror of his situation rouses all Don
Giovanni's determination, and he passes the bounds of foolhardiness in
his defiance of the spectre. This scene, however, in which the defiance
of a mortal is forced to yield to the higher powers, is a necessary
sequel to the preceding one with Elvira, in which the moral conflict has
just been fought out. Its pathos redeems it from burlesque, and spreads
an impression of horror which overmasters human reason. Mozart's success
in the combination of these qualities into a whole of harmonious beauty
has already been admired by us as the work of a genius. Gracious and
winning manners and overflowing strength and animal spirits, combined
with the refinement of good birth and breeding and the frankness of a
jovial temperament, produce a picture of a man richly endowed by nature,
but requiring to bend to moral restraint before he can be called great
or noble. He attracts liking, he rouses sympathy, but he is doomed to
final overthrow.

Donna Anna,[170] as the representative of intellectual elevation and
moral purity, is placed in strong contrast to this seductive being, who
attracts and degrades all with whom he comes in contact. She triumphs
over him from the first,

{DON GIOVANNI.}

(198)

the magic of his presence being powerless to affect her pure spirit.
But her maidenly pride resents his unworthy advances; the idea that an
insult so great should remain unpunished rouses such passion within her,
that she loses sight of all save her just revenge. The music gives a
tone of nobility and elevation to her passionate excitement, stamping
her at once as the superior nature to which Don Giovanni yields, not
only that he may escape recognition, but because he cannot help himself.
Her relation to him preserves this tone throughout, and there is no
subsequent suggestion of any closer or more personal interest.

Hoffmann's infelicitous idea that Donna Anna had been dishonoured by Don
Giovanni is contradicted by Da Ponte's libretto, which emphasises
her affection for Don Ottavio as repeatedly and decidedly as does the
high-pitched ideality of the music. It is a grievous error to suppose
that her "high-tragedy manner" towards her betrothed arises from the
consciousness of shame and from falsehood and hypocrisy, and not rather
from an elevated sense of pride and pure morality and from filial
grief for her murdered father. Hoffmann's conception of the two
chief characters, and their; relations to each other, though often
quoted,[171] is in many respects a misleading one. A Don Giovanni, a
very demon, who seeks in sensual love to satisfy his cravings for the
supernatural; who, weary and satiated with earthly pleasures, despising
mankind, and in utter scorn against nature and his Creator seeks to
compass the ruin of every woman he meets, is as foreign to the age,
the character, and the music of Mozart as a Donna Anna who, loving
the greatness which originally existed in Don Giovanni, yields to him
without resistance, only to feel doubly conscious of her abasement and
absorbed in the desire for revenge.

Upon her return with Don Ottavio she finds her father a corpse, and,
after making the most pitiful lamentations, she becomes insensible.
Coming to herself her first

{DONNA ANNA.}

(199)

half-unconscious exclamation is for her father; she imagines that the
murderer is before her, and beseeches him to slay her also. When the
dread certainty has brought her to full consciousness, she collects
all her forces for revenge. She makes Ottavio swear vengeance on the
murderer, and her excitement rises to an unnatural joy at the prospect
of the fulfilment of their gloomy task. The musical rendering of
this state of mind is perfect. The high-pitched mood of Donna Anna is
characterised with so much precision and delicacy, and the continuous
climax is so consistent and well connected, chiefly by virtue of the
musical construction, that we feel ourselves taken captive and prepared
to accept what we hear as the involuntary outbursts of passion.[172]
Even Don Ottavio's consolatory words, sharply as they contrast in their
cantilene-like delivery with Donna Anna's broken interjections, betray
in their restless accompaniment and changing harmonies the inner
disquiet from which he cannot free himself. As soon, however, as the
thought of revenge has been grasped, the two go together, and the voices
are in close connection, while the orchestra (a chief factor in the
musical rendering of the whole scene) contrasts with them in sharpest
accents, now urging, now restraining; the long suspense of the detached,
disconnected phrases is relieved by the stream of passion which seems to
raise the weight from the hearts from which it flows. Don Ottavio, owing
partly to the libretto, has acquired an unfavourable reputation that
can scarcely be entirely overcome, even if the exaggerations which have
become customary in his part should be discarded.[173] In real life we
feel the highest esteem for a character which preserves calmness and
clearness in the midst of heaviest trials,

{DON GIOVANNI.}

(200)

and stands loyally and tenderly by the side of the afflicted; but we
seldom find a poetic or passionate side to such a nature. Such an one
is Don Ottavio. He preserves his composure amid the whirlwind of
passion around him; his love imposes upon him the task of consoling and
supporting his beloved one under the loss of her father, and he performs
it in a manner at once tender and manly. He rises to greater strength
in the summons to vengeance, when he shows himself in no way inferior
to Donna Anna; and when the two next come upon the scene, it is he who
exhorts Donna Anna to stifle her grief and to dream only of revenge. The
unexpected appearance of Elvira, and Don Giovanni's behaviour inspire
him with some degree of suspicion; but he and Donna Anna preserve in the
quartet (Act I., 8) a dignified reserve towards the strangers, which
has a depressing effect when united with their mournful contemplation of
their own sorrow. Here they are entirely at one with each other, and so
the music renders them; their superiority of birth and demeanour has its
effect on the other two characters, and gives the tone to the whole. Don
Giovanni's entrance, his glance and tone, inspire Donna Anna with the
certainty of his being her father's murderer; the memory of that fearful
event flashes across her, and the tumult of feeling which it arouses is
expressed by the orchestra in pungent dissonances by means of opposing
rhythm and harsh sounds produced especially by the trumpets, which have
been silent since the overture until now. It is with difficulty that she
composes herself sufficiently to acquaint her lover with the cause of
her agitation.

When she has told him all, she urges him again to revenge her father's
death, in an air (Act I., 10) of which the delicate characterisation
completes the perfect image of Donna Anna. This air, in comparison with
the preceding recitative and with the duet, is temperate in tone. The
renewed appeal for revenge is not the same involuntary outburst of
passion which it was; it is the expression of conviction, and is
therefore more composed, though not less forcible than before. A high
and noble pride speaks in the first motifs (Vol. 11., p. 428)--[See Page
Image]

{DONNA ANNA--OTTAVIO.}

(201)

with inimitable dignity and force, while the plaintive sextoles of the
violins and violas, the urgent figure for the basses, which turns to
imitation at the second motif, and the gentle admonitory dialogue of the
wind instruments represent the restless anxiety which has called forth
her determination.[174]

Donna Anna's elevation of mind raises the man of her choice, and her
maidenly bashfulness gives her confidence a lover-like character.
Ottavio, who has not been inspired with the same instinctive certainty
of Don Giovanni's guilt, finds it hard to convince himself that a
nobleman, and his friend, can be capable of such a crime; but he is
quite ready to acknowledge the necessity for closely observing him. It
was at this point that the air composed in Vienna was inserted (Anh. 3)
to express Ottavio's devoted love for Donna Anna. It depicts exclusively
the tender lover, and the heroic impulses which might be supposed to
belong to the situation will be sought for in vain; the contrast with
Donna Anna's high-spirited air is very striking. No doubt the insertion
of the song was, in some measure at least, a concession to the
individual singer and to the preference of the public for sentimental
lovers. Granting this, however, it is simple and true in sentiment,
tender without sickliness, and of purest melody. Besides the clear and
lovely chief melodies, parts here and there, such as the transition to B
minor and the return to D major at the words, "E non ho bene s' ella non
l' ha," have a very striking effect. But the song

{DON GIOVANNI.}

(202)

is below the level of the situation, and, for want of a counterbalancing
force, it injures the conception of Don Ottavio's character. The masque
terzet expresses in a very pure and noble manner the contrast between an
affection based on moral constancy, such as that of Donna Anna and Don
Ottavio, and the unwholesome passions of the other characters. Donna
Anna, entering masked to play the spy on Don Giovanni, is seized
with alarm at the danger which threatens them all, especially her
lover--"Temo pel caro sposo" she sings with her own melting, plaintive
tones--and she calms her fears with difficulty. In the ball-room, where
noisy merriment is at its height, their dignified appearance gives the
assembly a certain air of solemnity. Leporello and Don Giovanni greet
them respectfully; they answer somewhat ceremoniously, and join in
the cry: "Viva la libertà!" but with a sort of dignified reserve which
stamps them as of superior rank to the crowd of country people round
them. This is a faithful reflection of the manners of the time; so also
is the subordination of the chorus in this scene: it was customary for
country people to keep at a respectful distance before persons of
rank. When the dance recommences, it is Donna Anna again who finds her
feelings so hard to master that she almost betrays herself. Zerlina's
cry for help is the signal for an outbreak of general excitement;
and henceforth they are all avowedly ranged against Don Giovanni. Don
Ottavio acts as the mouthpiece and champion of the women, and calls Don
Giovanni to account for the murder of the Commendatore. But he makes no
attempt to take the punishment of the crime into his own hands, and Don
Giovanni is allowed to beat a retreat from the presence of his former
friends and now determined opponents. No chorus is introduced in the
last movement of the first finale, and indeed none is conceivable.[175]
What would be gained in material sound-effects would be lost in true
dramatic effect. The "buona gente" do not presume to take part in the

{DONNA ANNA--OTTAVIO}

(203)

dispute of their lords; and, as the affair grows serious, the dancers
and musicians leave the ball-room hastily, and the principal characters
remain in possession of the scene.[176]

Hitherto Don Ottavio has shown himself as a man deserving of Donna
Anna's affection and confidence, loyal and devoted, cautious and
determined, and preserving throughout the lofty demeanour which
distinguishes him from Don Giovanni. But from this point we are in
expectation that he will put his resolutions into action, and that the
second act gives him no opportunity of doing so is a serious blemish.

The loose and disconnected plot of the second act sacrifices Donna Anna
and Don Ottavio in especial; Elvira, Zerlina, and Masetto are woven not
unskilfully into its intricate meshes, but the other two are altogether
left out. In the sestet (Act II., 6) the earlier motif of consolatory
assurance is repeated without any definite occasion, and only the
exalted purity of the music can cover this defect. Their presence is in
no way necessary either to the exposure of Leporello's trickery; it is
amply justified from a musical point of view, however, for the noble and
dignified tone, which contrasts with Leporello's comic fright and gives
the character of the ensemble, is the result of their participation.

Don Giovanni's new villainy having removed all doubt of his guilt
from Don Ottavio's mind, the latter no longer hesitates to call him to
account. His conduct has rendered him unworthy of giving the ordinary
satisfaction of a nobleman, and Ottavio resolves to deliver him over
to justice, taking upon himself the risk of encountering so bold and
formidable an adversary. As he turns to depart his thoughts naturally
turn to Donna Anna, who has left the scene after the sestet, and he
entreats his friends to console her during his absence, until he shall
return with the tidings of a completed revenge. This feeling is natural
and true, and the air (Act II., 8) expressing it is in every way
appropriate.

His appeal for the consolation of Donna Anna is made in one of the
loveliest cantilene which has ever been written for a tenor voice; but
the second part is not quite on the

{DON GIOVANNI.}

(204)

same level. Mozart has rightly refrained from expressing the desire for
revenge in a grand heroic movement, which would have introduced a false
tone, but has limited it to a middle movement, rendered characteristic
mainly by the rapid and forcible motion of the orchestra. The purely
musical effect of this part is excellent, but the voice part has not
force or brilliancy proportionate to the sweetness and fulness which it
has just displayed. The idiosyncracies of the singer Baglione may, in
some degree, have occasioned this treatment; he was specially celebrated
for his artistic and finished delivery.[177]

The course of the plot justifies Don Ottavio in his conduct towards Don
Giovanni, and when the reprobate has been called before a higher than
any earthly tribunal, Ottavio claims Donna Anna's hand, not as a tender
lover, but as a faithful protector summoned by fate to her side. Donna
Anna's postponement of their union until the year of mourning for
her father shall have expired is a realistic trait, and reflects
the ordinary rules of society and mode of thought then in vogue too
faithfully to be at all poetic. But there can be no doubt of the
intention to represent the love of Donna Anna and Don Ottavio as deep
and sincere; and it argues a misapprehension of tragic ideality to
consider the postponement either as an excuse to conceal her aversion
to her lover, or as the result of her determination to renounce earthly
love and seek refuge in a convent or the grave.[178] It is to the
disadvantage of Don Ottavio, however, that he is made to re-enter
and entreat Donna Anna to consent to an immediate union, without any
previous intimation that he has carried out his design of bringing Don
Giovanni to justice. This is uncalled for, and shows him in the light
of an amorous weakling destitute of energy.[179] The scene was probably
inserted later in order to separate the

{DONNA ANNA--OTTAVIO.}

(205)

churchyard scene from the supper, and chiefly, no doubt, to supply
Donna Anna with another air; the characterisation of Don Ottavio and
the natural progress of the plot are sacrificed to these objects. On
the other hand, the air itself (Act II., 10) is a grateful task for
the singer; and affords important aid to the musical-dramatic
characterisation of Donna Anna. Hitherto grief and revenge have inspired
her utterances; her affection to Don Ottavio has been indicated by her
intrusting to him her most sacred interests and duties. Here, at last,
her love breaks forth without reserve, and although she still rejects
his petition, it is with a maidenly coyness and an expression of regret
which add a new and individual interest to her character. The air is
introduced by a recitative, and consists of two independent movements in
different tempi. In form and treatment, especially in the employment of
wind instruments almost solo, and in the bravura voice passages, it more
closely resembles the traditional Italian aria than any other of the
original songs in Don Giovanni; but, in spite of this, it renders
important service to the characterisation.[180] The regularity of the
musical form corresponds very well to the refined and not only noble but
well-bred demeanour of Donna Anna. Deep and sincere emotion is expressed
with maidenly tenderness, infused with just the tinge of melancholy
which invests the whole representation of her character.

The characters which have been occupying our attention are so accurately
and minutely delineated, and every detail is so admirably blended into
the conception of the whole, that though a comparison with "Figaro"
may doubtless show many superficial points of resemblance, a closer
examination reveals the complete independence of the two works. No one
figure resembles another even distantly; each has its own life, its own
individuality, preserved in the minutest particulars, as well as in the
general conception. Not less remarkable than this is the art with which
the different

{DON GIOVANNI.}

(206)

elements, in all their force of energy and truth, are combined into an
harmonious and comprehensive whole.

As regards the dramatic force and reality of the situations, especially
in the ensembles, "Figaro" has the advantage over "Don Giovanni." The
introduction to the first act is admirably planned, both musically and
dramatically; in the quartet (Act I., 8) and terzet (Act II., 2) the
situation and prevailing tone are simple, but well chosen and sustained;
and the idea of giving Don Giovanni and Leporello a share in Elvira's
first air (Act I., 3), is productive of excellent effect. The sestet
(Act II., 6), on the other hand, is very loosely put together; the
characters are grouped round Leporello suitably enough, it is true,
but their encounter is not the natural result of the situation, and
the climax is a purely external one. The finales in "Don Giovanni" are
indeed far superior to the ordinary run, which even in good operas often
consist of loosely strung scenes which might just as well be spoken
as sung, but they are inferior to the well-combined, consistent*
development of the plot which delights us in the finales in "Figaro."
The first finale begins in lively style with the quarrel between
Masetto, whose jealously is newly awakened, and the terrified Zerlina,
who seeks to avoid an outbreak. The insidious ever-recurring motif for
both voice and orchestra--[See Page Image]

in contrast with the quickly uttered notes and sharp accents of anger,
is highly expressive of suspicion. Suggestive in another way are the
beating notes for the trumpets--

which are interposed in Masetto's speech, and afterwards taken up by the
flutes--

{FIRST FINALE.}

(207)

when Zerlina asserts herself, rising gradually to impatient quavers for
the violin--[See Page Image]

while the principal subject pursues its quiet course. They are
interrupted by the noisy merriment of Don Giovanni and his companions,
who are repairing to the merry-making in the casino; the gradual dying
away of the song of the retreating guests prepares us for the singularly
tender and lovely scene between Zerlina and Don Giovanni, which,
contrasted with the preceding duet with Masetto, first clearly shows
the dangerous fascination of the seducer. After the inimitably expressed
start of surprise at Masetto's reappearance the music alters altogether
in character, and Don Giovanni assumes a cordial hospitality and
cheerful gaiety which is partly accounted for by the sound of the dance
music from the casino; this is made also a musical prophecy of what is
to ensue, for the eight bars that are heard are taken from the second
of the dances afterwards combined, and Mozart has omitted the two first
bars, in order to put the hearer at once in the midst of the dance (Vol.
II., p. 154 note). A lively figure for the violin expresses the desire
of the three to join in the merriment. The figure is continued when
Elvira, Donna Anna, and Don Ottavio appear, and several accompaniment
figures are also retained, with important modifications. The minor key
for the first time occurring, and the totally different treatment of the
orchestra give an impression of a mysterious and gloomy shadow cast upon
the noisy merriment of the scene. Leporello, opening a window by chance,
sees the masks, and is ordered by his master to invite them to enter.
The open window causes the dance music to be more plainly heard, and
prepares for what is to follow; this time a minuet is played, which is
heard entire, for as long as the window remains open the orchestra is
silent, and conversation is carried on parlando. The unusual treatment
of this scene prepares the way for the ball; but it is quite as
consistent with the adagio which intervenes with surprising and profound
effect.

{DON GIOVANNI.}

(208)

The grave and elevated tone betokening the presence of higher moral
forces is additionally impressive after the unquiet, passionate activity
which precedes it. For the first time in this finale the voices put
forth all their power and beauty, and they receive powerful assistance
from the accompanying wind instruments. The voices seem to stand out
from the dark background of the peculiarly deep notes of the clarinets,
but the chords which follow are like gleams of light cast upon them, and
the whole movement appears transfigured in the glory of a higher region.
The scene changes, as was not unusual in finales, and we find ourselves
in the ball-room. The dance ended, the guests disperse for refreshment,
and Don Giovanni and Leporello, as hosts, Zerlina unable to escape Don
Giovanni's observation, and Masetto, jealously watching her, come to the
front. The orchestra plays the principal part in the lively movement,
6-8, which portrays this situation. Rhythm, melodies, and instrumental
colouring, all are stamped with voluptuous excitement, and we seem to
breathe the heated air of the ball-room. The voices move freely, either
joining in the orchestral subjects or going their own way in easy
parlando or prominent melodies, grouped according to the requirements
of the situation. The entrance of the masks gives, as has already
been observed, a different tone to the scene; the stranger guests are
courteously greeted, and Don Giovanni's summons to the dance places
fully before the spectators the ball-room scene, which has so often
been suggested. The real motive of the scene being musical, the dramatic
representation is skilfully made the object of the musical construction.

The company is a mixed one, and different dances are arranged to suit
the taste of all; thus also Don Giovanni is provided with the means of
freeing himself of those persons who come in the way of his design. His
distinguished guests tread a minuet, he himself joins in the country
dance with Zerlina, while Leporello whirls Masetto in the giddy waltz.
The musical representation of the situation in the three different
dances is thus made the chief point of the scene, the plot moving
rapidly onward; none of the characters

{DANCES.}

(209)

are in a position to express themselves fully, and the dance alone
preserves the continuity of the whole. The combination of three dances
simultaneously in varied rhythm and expression, offered to Mozart a
task in counterpoint which he has accomplished with so much ease and
certainty, that the untechnical listener scarcely believes in its
difficulty. The arithmetical calculation that three bars in 2-4 are
equal to two bars in 3-4, and one bar 3-8 represents a crotchet in a
triplet, is easily made, and the system presents no difficulty. But the
problem really consists in concealing the system beneath the melody
and rhythm, and in causing the necessary coincidence of the phrasing
to appear a natural and unstudied one, dependent on the individual
character of each dance. One dance follows another as a matter of
course. The minuet begins--the same which has been heard before. At the
repetition of the second part, the second orchestra prepares to strike
up, the open strings are struck in fifths, touched _pizzicato_, and
little shakes tried, the violoncello joins in in the same way--and all
falls naturally into the minuet, as it pursues its even course.[181] At
last a gay country dance (2-4) strikes up, as different in melody and
rhythm from the minuet as can be, although it is of course constructed
on the same fundamental bass. At the second part, the third orchestra
proceeds to tune up as the second had done before, and falls in with
a fresh and merry waltz (3-8).[182] Before the minuet recommences,
Zerlina's cry for help is heard, both dances and music break off
suddenly, and the orchestra, which has hitherto been silent, strikes
in with full force.[183] Zerlina's cry for help brings about a complete
change of

{DON GIOVANNI.}

(210)

mood and tone. All present, except Don Giovanni and Leporello, are
inspired by one sentiment, and form a compact and solid mass opposing
the two, either in unison or by means of a purely harmonious treatment
of the voices. Only pit particular points, such as the unmasking, do the
different characters stand out, and the imitation by means of which the
parts are again united emphasises the impression of strict connection
between them. This kind of grouping requires a broad, grand treatment,
and a more forcible one both for the voices and the orchestra. Mozart
has nevertheless happily avoided the adoption of a tragic tone, which
would have been unsuited to the situation. The case is not, after
all, too grave to allow of Don Giovanni and Leporello expressing their
confusion and dismay comically, after their manner, and the humorous
character of the opera is thereby preserved.[184] Still more simple is
the construction of the second finale. The introduction of table music
taken from different operas renders the supper scene a very masterpiece
of musical fun; but the episode has no direct connection with the
action.[185] This begins with the entrance of Elvira, with a gravity and
an impulse which have been wanting since the beginning of the opera.
In opposition to Elvira's glowing passion, to which her higher resolves
lend nobler impulse than before, so that even Leporello is carried away
by her energy, Don Giovanni's sensuality stands out in stronger
relief, until it outrages man's noblest and most sacred feelings; the
contradiction develops a depth of pathos

{THE SECOND FINALE.}

(211)

which prepares for the approaching catastrophe. The force and fulness of
musical expression in this scene are as remarkable as the deep truth of
its characterisation. Compare the passionate expressions of Donna Anna
with this outbreak of Elvira, and the fundamental difference of the two
characters is clear; so also it is plain that, inimical to each other
as they may be, Elvira and Don Giovanni are creatures of the same
mould, having the same easily excited sensual impulses. Leporello's
terror-stricken announcement of the Commendatore's approach comes as a
relief to this highly wrought scene. In point of fact, the comic tone
increases the suspense more than even Elvira's piercing cry; ludicrous
as is the fear of Leporello, the main impression it produces is one
of horror at its cause. The first fear-struck tones of the orchestra,
collecting their forces for what is to come, the first simple, firm
tones of the spectre's voice[186] transport us to the sphere of the
marvellous. This sense of the supernatural is preserved by Mozart
throughout the scene, and the hearer seems to himself to be standing in
breathless suspense at the very verge of the abyss. It is produced by
an uninterrupted climax of characteristically shaded movement; and the
object which the master has kept steadily before him has been to produce
at every point the expression of a grandeur and sublimity surpassing
that of earth. To accomplish this, external means, such as the
disposition of harmonies and instrumental colouring are employed with
equal boldness and skill, but the true conditions of its extra-ordinary
effect are the high conception and powerful inspiration which animate
the whole. When to this it is added that Don Giovanni and Leporello,
although under the spell of the supernatural apparition, act freely,
each according to his individual nature, without for an instant
prejudicing the unity of tone, it must be acknowledged that the union
of dramatic truth and lofty ideal is here complete. After this prolonged
and painful suspense the breaking of the storm

{DON GIOVANNI.}

(212)

which is to deliver Don Giovanni into the power of the internal spirits
comes as a long-expected catastrophe. The spirits themselves Mozart has
wisely kept in the background. Invisible in the darkness, they summon
their victim in few, monotonous, but appalling notes. This allows of
a more animated expression to the torture of despair which seizes Don
Giovanni, and to the terror of Leporello; while the orchestra depicts
the tumult of all the powers of nature. This scene can only attain to
its full effect when theatrical managers can make up their minds to
allow the music to work on the imagination and feeling of the audience,
unimpeded by a display of fireworks and demoniac masks.[187] This
finale, after all that has preceded it, does not certainly produce a
calming effect, but it relieves the suspense, and virtually brings the
plot to an end. The entrance of the other characters to learn the fate
of Don Giovanni from Leporello, and to satisfy the audience as to their
own fate, is chiefly a concession to the custom of assembling all the
chief persons on the stage at the close of the opera, which in this case
seems justified by the necessity of concluding with a composing and
moral impression. It is not, however, the true close of the plot, and
the audience have already been quite sufficiently informed as to the
fate of the characters.

Regarded from a musical point of view, Leporello's
narrative--interrupted by exclamations of astonishment from the
others--is very fresh and spirited, and the surprise well and delicately
expressed; the movement would be most effective in another place, but
here it falls decidedly flat. The larghetto in which the duet between
Don Ottavio and Donna Anna, with the short remarks of the others, is
brought to a close is lovely, but not so weighty in substance as the
situation demands. The closing movement is very fine, and Mozart has
imparted such a clear and tender radiance to the church-music sort of
form in which he has embodied the moral maxims, that a flush like that
of dawn seems to rise

{THE SECOND FINALE.}

(213)

from the gloomy horror which has buried the gay life of the drama in
deepest night. It was soon felt that to preserve the interest of
the audience after the spirit scene was impossible. An attempt at
abbreviation was annexed to the original score, omitting the larghetto
so far as it referred to personal circumstances. Whether this experiment
was made in Prague or Vienna,[188] it appears not to have sufficed, and
at the performance in Vienna the opera closed, as it almost invariably
has later, with Don Giovanni's descent into the lower regions. At
his fall all the characters enter and give a cry of horror, which is
inserted in the score on the chord of D major. A few attempts have been
made later, either on theoretical or practical grounds, to restore the
original closing scene.[189] Attempts at a modification such as
have been made are very objectionable. At a performance in Paris Don
Giovanni's disappearance was followed by the entry of Donna Anna's
corpse borne by mourners, and the chanting of the "Dies iræ" from
Mozart's Requiem.[190] This idea suggested to Kugler[191] the further
one of changing the scene after Don Giovanni's fall to the mausoleum
of the Commendatore, and introducing the funeral ceremonies, the chorus
singing from Mozart's Re-queim, "Lux perpetua luceat ei" (not _eis_,
"because it is only for one person"), "Domine, cum sanctis tuis quia
pius es," to be followed by the "Osanna in excelsis" as an appropriate
conclusion. It is as difficult to comprehend how these two movements
can be thus combined, as how reverence for the master can allow of his
sacred music being thus tacked on to an opera without any regard to
unity of style and workmanship. Viol,  supported by Wolzogen,
adopted this idea so far as, instead of the usual conclusion, to insert
the funeral service in the mausoleum, and have the closing movement of
the opera sung there; but it appears

{DON GIOVANNI.}

(214)

altogether out of place. Nothing can be more objectionable than to make
use of separate parts of a work of art in a different sense to that
intended by the master; omission is, on the whole, a less hurtful
proceeding.

A consideration of the finale proves what is borne out by the whole
opera, that, though inferior in artistic unity of plot to "Figaro," it
excels that work in the musical nature of its situations and moods. In
"Figaro" we are amazed to find how, within the narrow limits of emotion
presented to us, seldom rising to passion, never to a higher pathos, our
minds are entranced by the grace and spirit of the representation.
In "Don Giovanni," on the contrary, there is scarcely a side of human
nature which is not expressed in the most varied shades of individuality
and situation; through the checkered scenes of daily life we are led to
the very gates of the spirit world, and the light of original wit and
humour shines upon the work from beginning to end. The difficulty for a
dramatically gifted author lay in moderation. Da Ponte having placed his
"Don Giovanni" in the present, Mozart with ready wit draws upon reality
where-ever possible for matters of detail and colouring. This freshness
and fulness of realism distinguishes "Don Giovanni" from "Figaro,"
without entailing any loss of ideality, for every subject drawn from
real life is turned to the service of the artistic conception of the
whole. The statues of the Parthenon or the figures of Raphael teach how
the great masters of the formative arts follow nature in all and each
of their creations; they teach, too, how the treasure which the eye of
genius descries in the depths of nature must be first received into a
human heart, thence to emerge as a complete and self-contained whole,
appealing to the sympathies of all mankind. Nor is it otherwise with
the great masters of sound, whatever be the impulse which urges them to
expression, whether the words of the poet, the experiences of life, the
impressions of form, colour, or sound;

the idea of the whole, which inspires it with life and endows it with
form and meaning, must come from the depths of his own spirit, and is
the creative force, which is unceasingly active until the perfect work
of art is produced. The ideal

{WORKS IN VIENNA, 1788.}

(215)

of such a work is the perfection which is conceivable and visible to
mankind in art alone; in it that which elsewhere appears as contrast or
opposition rises to the highest unity. This once attained, we experience
the satisfaction which for mortals exists in art alone. But our delight
and admiration rise still higher when this harmony is maintained
throughout a varied and many-sided composition, containing a wealth of
interests and motives appealing to our most opposite sympathies, and
stirring the very depths of our being--then it is that we feel the full
and immediate inspiration of that Spirit Who looks upon the universe as
the artist looks upon his work.

FOOTNOTES OF CHAPTER XXXVIII.

[Footnote 1: Da Ponte, Mem., I., 2 p. 98.]

[Footnote 2: Mozart wrote the beautiful air "Non sö d'onde viene" for him on
March 18 (512 K., Vol. I., p. 422).]

[Footnote 3: Cramer, Mag. Mus., 1788, II., p. 47.]

[Footnote 4: His naïve and highly entertaining autobiography appeared in Leipzig
in 1801.]

[Footnote 5: Dittersdorf, Selbstbiogr., p. 228.]

[Footnote 6: Gerber, A. M. Z., I., p. 307; ibid, III., p. 377. Cf. Biedenfeld,
Die Komische Oper, p. 60.]

[Footnote 7: Berl. Mus. Wochenbl., 1791, pp. 37, 54, 163.]

[Footnote 8: Müller, Abschied, p. 277.]

[Footnote 9: Cramer, Magaz. f. Musik, 1788, II., p. 53.]

[Footnote 10: "Mozart auf der Reise nach Prag" is the title of a novel by Eduard
Möricke (Stuttgart, 1856), written with the author's usual grace and
delicacy. At the same time it is to be regretted that he has laid so
much stress on the lighter, more worldly side of Mozart's character; and
it is scarcely conceivable that a poet could have ascribed to Mozart a
manner of composition which was as far as it was possible to be from his
nature as an artist.]

[Footnote 11: Particulars concerning this visit to Prague are given by J. R.
Stiepanek in the preface to his Bohemian translation of "Don Giovanni"
(Prague, 1825, German translation by Nissen, p. 515)* The Prague
reminiscences are revived also in the "Bohemia" (1856, Nos. 21-24).
Heinse gives some details communicated by L. Bassi (Reise--u.
Lebensskizzen, I., p. 208), and J. P. Lyser draws from the same source
in his Mozart-Album (Hamburg, 1856). These accounts are, however,
wanting, not alone in aesthetic culture, but in the discernment of what
is historically true. On a lower level still must be placed Herib. Rau's
"Cultur-historischer Roman" "Mozart" (Frankfort, 1858), which has little
in common either with culture or history; his description of the visit
to Prague is in especial a more appalling calumny on Mozart's moral and
artistic character than has been ventured on by any of his opponents.]

[Footnote 12: Ost und West, 1839, No. 42, p. 172. A memorial tablet was
afterwards placed on this house.]

[Footnote 13: The vineyard is called Petranka (Smichow, No. 169), and belongs,
according to the "Bohemia" (1856, p. 118), to the merchant Lambert
Popelka.]

[Footnote 14: In the autograph score the duet is written on smaller paper, and
somewhat more hastily than the other numbers, as was the case with
Masetto's air.]

[Footnote 15: Castil-Blaze has accepted these professional fables as literal
truth (Molière Musicien, I., p. 310).]

[Footnote 16: Da Ponte, Mem., I., 2, p. 103.]

[Footnote 17: The recitative and these two passages are omitted from the
autograph score, which prevents any identification of the alterations.
In "Idomeneo" the Oracle is accompanied only by trombones and horns.
Gugler throws doubt on the anecdote (Morgenbl., 1865, No. 33, p. 777).]

[Footnote 18: At the wedding festivities in Vienna, on October 1, Martin's
"Arbore di Diana" was performed (Wien. Ztg., 1787, No. 79, Anh.), and
was repeated nine times in the same year.]

[Footnote 19: Wien. Ztg., 1787, No. 84. "Don Giovanni" was to have been played
for the first time on this occasion, and Sonnleithner informs me that
a book of the words had actually been printed, with the title-page,
"Da rappresentarsi nel teatro di Praga per l'arrive di S. A. R. Maria
Teresa, Archiduchessa d' Austria, sposa del Ser. Principe Antonio di
Sassonia l'anno 1787." Here the first act closes with the quartet
(8); the second act is intact. The performance did not take place, the
Princess leaving Prague on October 15.]

[Footnote 20: Niemetschek, p. 87.]

[Footnote 21: In Mozart's Thematic Catalogue the subject of the overture is
entered under date October 28, with the title, "Il Dissoluto Punito,
o il Don Giovanni: Opera buffa in 2 Atti--Pezzi di Musica 24." The
overture is, as usual, written as a separate piece, hastily, but with
scarcely any alterations.]

[Footnote 22: A very unfavourable account of his greed for gain and
unscrupulousness is given in the A. M. Z., II., p. 537.]

[Footnote 23: Da Ponte, Mem., I., 2, p. 103. The fee which he received was fifty
ducats.]

[Footnote 24: Wien. Ztg. (1787, No. 91): "On Monday, October 29, Kapellmeister
Mozart's long-expected opera, 'Don Giovanni, das steinerne Gastmahl,'
was performed by the Italian opera company of Prague. Musicians and
connoisseurs are agreed in declaring that such a performance has never
before been witnessed in Prague. Herr Mozart himself conducted, and
his appearance in the orchestra was the signal for cheers, which were
renewed at his exit. The opera is exceedingly difficult of execution,
and the excellence of the representation, in spite of the short time
allowed for studying the work, was the subject of general remark. The
whole powers, both of actors and orchestra, were put forward to do
honour to Mozart. Considerable expense was incurred for additional
chorus and scenery, which has been generously defrayed by Herr
Guardasoni. The enormous audience was a sufficient guarantee of the
public favour."]

[Footnote 25: So the story was told on the authority of Mozart's son, in the
Berl. Musikztg. Echo (1856, No. 25, p. 198).]

[Footnote 26: L. de Loménin, Beaumarchais et son Temps, II., p. 399.]

[Footnote 27: Da Ponte, Mem., I., 2, p. 98. Mosel, Salieri, pp. 98, 128.]

[Footnote 28: Wien. Ztg., 1788, No. 3. Müller, Abschied v. d. Bühne, p. 277]

[Footnote 29: Da Ponte, Mem., I., 2, p. 108. A. M. Z., XXIV., p. 284. In 1788
"Axur" was performed twenty-nine times.]

[Footnote 30: Mus. Korr., 1790, p. 30.]

[Footnote 31: Berlin. Musik. Wochenbl., p. 5.]

[Footnote 32: Wien. Ztg., 1788, No. 38. My friend Gabr. Seidl informs me that
in the accounts of the theatre for 1788-1789 is the entry (pp. 45,127):
"Dem da Ponte Lorenz fur Componirung der Poesie zur Opera il Don
Giovanni, 100 fl."; and pp. 47, 137: "Dem Mozart Wolfgang fur
Componirung der Musique zur Opera il Don Giovanni, 225 fl."]

[Footnote 33: Da Ponte, Mem., I., 2, p. 104.]

[Footnote 34: "Don Giovanni" was performed fifteen times during this year.
Lange's assertion, therefore, that it was withdrawn after the third
representation rests upon an error. But after 1788 it was removed from
the stage, and did not reappear until November 5, 1792, in a miserable
German adaptation by Spiess. According to Da Ponte the Emperor
exclaimed, after hearing "Don Giovanni": "The opera is divine, perhaps
even more beautiful than 'Figaro.' but it will try the teeth of my
Viennese." To which Mozart answered, on hearing the remark, "We will
give them time to chew it." Joseph went into head-quarters on February
28, 1788, and did not return to Vienna till December 5 (Wien. Ztg.,
1788, No. 18); he can only, therefore, have been present at the last
performance of the year, on Dec. 15.]

[Footnote 35: A. M. Z., XXIV., p. 284.]

[Footnote 36: The different pieces are numbered in the same order in the
announcement of the pianoforte score (Wien. Ztg., 1788, No. 42, Anh.).]

[Footnote 37: Cramer, Magazin d. Mus., July, 1789, p. 47.]

[Footnote 38: Cavalieri wished to sing it in E major instead of E flat
major, and Mozart therefore made a transition into E at bar 19 of the
recitative, and wrote over the air itself, "in E."]

[Footnote 39: He first appeared at Easter, 1788, in the "Barber of Seville"
(Wien. Ztg., 1788, No. 34, Anh.).]

[Footnote 40: Journal der Moden, 1790, p. 50.]

[Footnote 41: Schink, Dramaturgische Monate (1790), II., p. 320.]

[Footnote 42: Schneider, Gesch. d. Berl. Oper, p. 59. A notice from Berlin in the
Journal der Moden (1791, p. 76) says: "The composition of this opera is
fine, although here and there it is very artificial, heavy, and overladen
with instruments."]

[Footnote 43: Chronik v. Berlin, IX., p. 132. Cf. XI., p. 878.]

[Footnote 44: "Don Giovanni" was given five times within ten days.]

[Footnote 45: Chronik v. Berlin, IX., p. 316.]

[Footnote 46: Mus. Wochenbl., p. 158.]

[Footnote 47: Mus. Monatsschr., p. 122.]

[Footnote 48: Mus. Wochenbl., p. 19.]

[Footnote 49: Jacobi wrote to Herder, in July, 1792: "We were terribly bored by
yesterday's opera; it is an insupportable affair, this 'Don Juan'! A
good thing that it is over." (Auserl. Briefw., II., p. 91.)]

[Footnote 50: Briefw., 403,1., p. 432. Schiller had written (402, I., p. 431):
"I have always had a certain amount of hope that the opera, like the
choruses of the old hymns to Bacchus, would be the means of developing a
nobler conception of tragedy. In the opera, a mere servile following of
nature is forsaken, and the ideal, disguised as indulgence, is allowed
to creep on the stage. The opera, by the power of music and by
its harmonious appeal to the senses, attunes the mind to a higher
receptivity; it allows of a freer play of pathos, because it is
accompanied by music; and the element of the marvellous, which
is suffered to appear in it, makes the actual subject a matter of
indifference."]

[Footnote 51: Bohemia, 1856, No. 23, p. 122.]

[Footnote 52: A. M. Z., XXXIX., p. 800.]

[Footnote 53: A. M. Z., XL., p. 140.]

[Footnote 54: A. M. Z., XXXIX., p. 810.]

[Footnote 55: Castil-Blaze, L'Acad. Impér. de Mus., II., p. 98.]

[Footnote 56: Castil-Blaze, Molière Musicien, I., p. 321. Cf. Siever's Càcilia,
IX., p. 208. A. Schebest, a. d. Leben e. Künstlerin, p. 202.]

[Footnote 57: Castil-Blaze, Molière Musicien, I., pp. 268, 323. L'Acad. Impér. de
Mus., II., p. 241.]

[Footnote 58: Leipzig, A. M. Z., 1866, p. 192.]

[Footnote 59: "Don Juan," opéra en 2 actes et 13 tableaux. Édition du Théätre
Lyrique.]

[Footnote 60: Pohl, Mozart und Haydn in London, p. 149.]

[Footnote 61: A. M. Z., XIII., p. 524. Stendhal, Vie de Rossini, p. 6.]

[Footnote 62: A. M. Z., XIV., p. 786; XV., p. 531.]

[Footnote 63: A. M. Z., XVI., p. 859.]

[Footnote 64: A. M. Z., XVIII., p. 232.]

[Footnote 65: A. M. Z., XX., p. 489.]

[Footnote 66: A. M. Z., XXVI., p. 570.]

[Footnote 67: A. M. Z., XXV., p. 639.]

[Footnote 68: Scudo, Crit. et Littêr. Mus., I., p. 121. For similar remarks on an
older Italian singer, see A. M. Z., XXV., p. 869.]

[Footnote 69: Viardot, Manuscr. Autogr. du D. Giov., p. 10. It must be remembered
that Rossini's arrival in Paris, in 1823, was the signal for a party
warfare between the Mozartists and Rossiniists, similar to that waged
by the Gluckists and Piccinnists. Cf. A. M. Z., XXV., p. 829.]

[Footnote 70: Da Ponte, Mem., III., p. 43. Scudo, Crit. Littér. Mus., I., p. 178.]

[Footnote 71: Castil-Blaze, Molière Musicien, I., p. 329.]

[Footnote 72: Da Ponte, Mem., III., p. 54.]

[Footnote 73: Da Ponte, Mem., III., p. 58.]

[Footnote 74: Rochlitz, A. M. Z., I., p. 51.]

[Footnote 75: E. T. A. Hoffmann's "Don Joan, eine fabelhafte Begebenheit, die
sich mit einem reisenden Enthusiasten zugetragen," written in September,
1812 (Hitzig Hoffmann's Leben, II., p. 35), appeared in the first volume
of his "Phantasie-stücke in Callot's Manier" (Bamberg, 1813). The novel
and striking ideas contained in the article made a great impression at
the time, and to Hoffmann is due the merit of adducing from the music
the poetical and psychological truth of the opera.]

[Footnote 76: I will here only mention H. G. Hotho, Vorstudien fur Leben und
Kunst (Stuttgart, 1835), p. 1; Victor Eremita, Det Musikalsk-Erotiske,
in Enten-Eller (Copenhagen, 1849), I., p. 25; and P. Scudo, Crit.
et. Littér. Music., I., p. 150. Others will occur later on; but a
compilation of all that has been written, to the purpose or not, on the
subject of Don Juan would be a very tedious and not a very profitable
labour.]

[Footnote 77: The usual title of opera buffa is given to "Don Giovanni" by
Mozart in his Thematic Catalogue; in the libretto it is called "dramma
giocoso."]

[Footnote 78: On the adaptations of this subject cf. Cailhave, De l'Art de la
Comédie (Paris, 1785), III., ix t.; II., p. 175; Kahlert, Die Sage
vom Don Juan (Freihafen, 1841), IV., 1, p. 113. Much serviceable
information, together with some nonsense, may be found in Castil-Blaze,
Molière Musicien, I., p. 189. A collection of Don Juan literature in the
Russian language, by C. Swanzow, has been sent to me by the author.]

[Footnote 79: The name and arms of the family of Tenorio (once distinguished in
Seville, but long since died out) are given by Castil-Blaze (p. 276),
from Gonzalo Argole de Molina's Nobleza de Andaluzia (Seville, 1588),
p. 222. According to Favyn (Théätre d'Honneur et de Chevalerie, Paris,
1620) Don Juan Tenorio was the companion of King Pedro (1350-1369) in
his cruelties and lusts.]

[Footnote 80: The legend is told by Castil-Blaze (p. 221), after Puibusque, Hist.
Comparée des Littér. Espagn. et Franç. (Paris, 1843). Schack asserts
that it is still current in Seville, and sold in the streets on loose
sheets, in the form of a romanze.]

[Footnote 81: Castil-Blaze, p. 222. Arnold (Mozart's Geist, p. 298) says that
the true source is a political romance by a Portuguese Jesuit, entitled
"Vita et mors sceleratissimi principis Domini Joannis."]

[Footnote 82: Schack, Gesch. der dram. Litt. u. Kunst in Spanien, II., p. 552. L.
Schmidt, Die vier bedeut Dramatiker der Spanier, p. 10. Tellez died
in 1648, seventy-eight years old; in 1621 he had already written three
hundred comedies.]

[Footnote 83: An epitome of the piece, published in Eugenio da Ochoa's Tesoro del
Teatro Espaniol (Paris, 1838, IV., p. 73), was given by Cailhava,
II., p. 179. Kahlert and Castil-Blaze. It is now accessible in the
translations of C. A. Dohrn (Spanische Dramen, I., p. 1) and L.
Braunfels (Dramen aus u. n. d. Span., I., p. 1).]

[Footnote 84: The part of Tisbea is very charmingly treated; Byron has made use
of this part of the subject.]

[Footnote 85: When Don Juan swears to marry Aminta, he says, with ambiguous
mockery:--]

     "Wird mein Wort je im geringsten
     Falsch befunden--nun so mag mich
     Eine Leichenhrnd vernichten."]

[Footnote 86: Schack (II., p. 569), quoting from a license to publish Tirso's
works, says that they contain nothing which could offend good manners,
and that they present admirable examples to youth.]

[Footnote 87: Schack (II., p. 679).]

[Footnote 88: Riccoboni, Hist. du. Théätre Ital., I., p. 47.]

[Footnote 89: Castil-Blaze (p. 263) has a list of the editions.]

[Footnote 90: Goldoni, Mém., I., p. 163. Eximeno, L'Orig. d. Musica, p. 430.]

[Footnote 91: Cailhava, in an analysis of the Convitato (II., p. 186), remarks
that he has observed trifling alterations in different performances,
but that in essentials the piece is always the same. A more detailed
analysis of a later piece, differing somewhat in detail, is given by
Castil-Blaze (I., p. 192).]

[Footnote 92: Castil-Blaze's piece omits this adventure, and begins with Donna
Anna and the murder of the Commendatore.]

[Footnote 93: Castil-Blaze's sketch inserts the peasant wedding here.]

[Footnote 94: This piece alone was in writing, all the rest was improvised.]

[Footnote 95: Castil-Blaze, I., p. 243.]

[Footnote 96: Dictionnaire des Théätres de Paris, II., p. 539.]

[Footnote 97: The French pieces are enumerated in the Dictionnaire des Théätres
de Paris, II., p. 540.]

[Footnote 98: This absurd title, arising from an error of translation (Convitato
Convié), not only held its ground in France, even after its exposure
by De Visé (Mercure Galant, 1677, I., p. 32), but it was rendered still
more nonsensical in its German form, "Das steinerne Gastmahl," which was
the usual title in the last century.]

     "Placatevi d'Averno
     Tormentatori etemi!
     E dite per pietade
     Quando terminaran questi miei guai?"]

[Footnote 99: In the same year, 1659, Tirso's drama was played in Paris by
Spanish actors (Castil-Blaze, p. 247).]

[Footnote 100: Castil-Blaze, I., p. 246.]

[Footnote 101: Goldoni, Mém., I., 29, p. 163.]

[Footnote 102: Cailhava, II., p. 193.]

[Footnote 103: Dictionnaire des Théätres, II., p. 542.]

[Footnote 104: Dav. Erskine Baker, Biographia Dramatica (London, 1782), II., p.
188. Th. Shadwell, Poeta Laureatus under William III., lived 1640-1692.]

[Footnote 105: Schack, III., p. 469.]

[Footnote 106: Müller, Abschied, p. 63.]

[Footnote 107: Meyer, L. Schroder, I., p. 153; Cf. II., 2, pp. 55, 144.]

[Footnote 108: Meyer, II., 2, p. 44.]

[Footnote 109: Meyer, II., 2, p. 179. Schütze, Hamburg. Theatergesch., p. 375.]

[Footnote 110: [Oehler] Geschichte des ges. Theaterwesens zu Wien, p. 328.]

[Footnote 111: Sonnenfels, Ges. Schr., III., p. 139. Pohl showed me a printed
table of contents, without date or place: "Das steineme Gastmahl, oder
die redende Statue sammt Arie welche Hanns-Wurst sin get, nebst denen
Versen des Ere-miten und denen Verzweiflungs-Reden des Don Juans bey
dessen unglücksee-ligen Lebens-Ende."]

[Footnote 112: Three puppet plays from Augsburg, Strasburg, and Ulm have been
published by Scheible (Das Kloster, III., p. 699); they are very
mediocre. Molière's "Don Juan," as an opera for puppets, was played in
Hamburg in 1774 (Schletterer, Deutsch. Singsp., p. 152).]

[Footnote 113: Dictionnaire des Théätres, II., p. 540.]

[Footnote 114: Mém. sur les Spectacles de la Foire, I., p. 153.]

[Footnote 115: Schmid, Gluck, p. 83. Castil-Blaze conjectures (I., p. 265) that
this ballet was written in Parma, in 1758. Sara Goudar, in her Remarques
sur la Musique Italienne et sur la Danse (Paris, 1773), writes about
Gluck: "Gluck, Allemand comme Hasse, l'imita [Jomelli]; quelquefois
même le surpassa, mais souvent il fit mieux danser que chanter. Dans
le ballet de Don Juan, ou Le Festin de Pierre, il composa une musique
admirable" (Ouvr. Mèl., II., p. 12). Printed before Wollank's pianoforte
score, and in Lobe's Flieg. Blàtt. f. Mus., I., p. 122.]

[Footnote 117: A ballet, "II Convitato di Pietra," was given in Naples in 1780
(Signorelli, Stor. Crit. d. Teatri, X., 2, p. 172).]

[Footnote 118: This opera was also performed in Braunschweig in 1782 (Cramer,
Mag. f. Musik, I., p. 474).]

[Footnote 119: The book of the words printed in Vienna has on the title-page "da
rap-presentarsi ne' teatri privilegiati di Vienna l' anno 1777.]

[Footnote 120: Castil-Blaze, I., p. 267.]

[Footnote 121: Goethe, Briefw m. Zelter, II., p. 160.]

[Footnote 122: Musik. Monatschr., p. 122.]

[Footnote 123: Da Ponte, Mem., II., 1, p. 28.]

[Footnote 124: The manuscript (perhaps autograph) in the archives of the Society
of Musicians in Vienna bears the title, "ü Convitato di Pietra, Atto
solo del Sgr. Giuseppe Gazaniga. In S. Moisè, 1787." The greater part of
the recitative, five pieces in score, and four airs with voice part and
bass, are preserved.]

[Footnote 125: Recensionen, 1860, No. 38, p. 588.]

[Footnote 126: The fact of her non-reappearance is proved by the same singer
taking the part of Maturina.]

[Footnote 127: Here, doubtless, was inserted the quartet, "Non ti fidar o
misera," composed by Cherubini for the performance in Paris in 1792
(Scudo, Crit. et Litt. Mus., I., p. 181). Not. de Manuscr. Autogr. de
Cherubini, pp. 12, 101.]

[Footnote 128: For a performance at Ferrara, Ferrara is substituted for Venezia.]

[Footnote 129: _Atto solo_ is on the title-page instead of secondo, which is
struck out; on the second scene is _Atto secondo_, and the finale
is superscribed _Finale secondo._ On the other hand, the scenes are
continuously numbered from 1 to 24. I can only suppose that an earlier
version has been abridged for representation.]

[Footnote 130: A "Don Giovanni" ascribed to Cimarosa is the result of a mistake;
his opera, "ü Convito," composed in 1782, is an adaptation of Goldoni's
"Festino," and has nothing to do with Don Juan (Castil-Blaze, p. 267).]

[Footnote 131: When Sonnleithner had succeeded in obtaining the books of the
words printed for the first performances in Prague and Vienna, he
published a reprint of the first with the alterations and omissions of
the second, together with all the scenic remarks written by Mozart on
his score. "ü Dissoluto Punito, ossia il Don Giovanni. Dramma giocoso.
Poesia di Lorenzo da Ponte." Leipzig, 1865.]

[Footnote 132: I have, unfortunately, been unable to obtain Zamora's drama.]

[Footnote 133: Eckermann, Gespräche mit Goethe, I., p. 64.]

[Footnote 134: The scenic order, for which the books of the words give important
data, has been the subject of much recent controversy. Cf. Recensionen,
1859, No. 25. A. von Wolzogen über d. seen. Darstellung von Mozart's
"Don Giovanni" (Breslau, 1860). Bitter, Mozart's "Don Juan," p. 62.
Sonnleithner, Recensionen, 1865, No. 48. Woerz, Wien. Ztg., 1866, No.
293, &c.]

[Footnote 135: Gazzaniga's "Eximena" is wisely omitted.]

[Footnote 136: Zerlina owes to Goldoni's "Elisa" a strong tinge of frivolity; and
the credulity and inexperience of the peasant maid are not without an
alloy of sensuality. She is, however, at the same time endowed with a
natural charm that enables Mozart to represent her with full consistency
as a very lovable creature.]

[Footnote 137: This shows the progress made upon Gazzaniga's work. That which
was a mere comic by-play is here used as a motive for giving a common
interest to the characters, and leads to the recognition of Don
Giovanni, and to the climax of the finale.]

[Footnote 138: At Hamburg, members of noble families required that minuets should
be played alternately with the country dances, "that they might not be
obliged to mix with the crowd" (Meyer, L. Schroder, I., p. 150).]

[Footnote 139: Gugler's idea (Morgenbl., 1865, p. 775) that Don Giovanni feigns
his alarm, as if saying to his captors, "Your unexpected and unfounded
accusations have altogether upset me," has not convinced me.]

[Footnote 140: The air is given in the Niederrhein. Mus. Ztg., II., p. 413.
Mozart has changed the original key (A major) and somewhat condensed the
whole, to its decided advantage.]

[Footnote 141: How far superior to the senseless toasts in Righini's and
Gazzaniga's versions.]

[Footnote 142: O. Gumprecht, Deutsch. Theater-Archiv, 1859, Nos. 2, 3.]

[Footnote 143: The earliest translation is that by Bitter, mentioned by E. G.
Neefe (1789). Don Giovanni is called Herr von Schwänkereich; Leporello,
Fickfack. It circulated in manuscript, and was the foundation of most
of the earlier German versions, as well as of those by Schroder and
Rochlitz (Leipzig, 1801), which cannot be adjudged free from the faults
of their predecessors. Kugler showed by his own attempt how difficult a
task it was (Argo, 1859, p. 353). A great advance has been made in the
recent versions of W. Viol ("Don Juan": Breslau, 1858); L. Bischoff, in
Simrock's pianoforte score (Cf. Niederrh. Mus. Ztg., 1858, p. 397; 1859,
p. 88); A. von Wolzogen (Deutsche Schaub., IX., 1860); C. H. Bitter
(Mozart's "Don Juan" u. Gluck's "Iphigenia in Tauris," Berlin, 1866).
Lyser's announcement of a translation by Mozart himself (N. Ztschr.,
XXI., p. 174), of which he quoted fragments, was unquestionably the
result of a mystification, in spite of Lyser's repeated declaration that
he had copied from the autograph original in the possession of Mozart's
son (Wien. Mus. Ztg., 1845, p. 322), where Al. Fuchs did not find it
(Ibid., p. 343).]

[Footnote 144: G. Weber makes a statement with regard to Mozart's autograph
score (Cäcilia, XVIII., p. 91) which places the question of the inserted
pieces in a very clear light. The treasure, which could find no place
in any public collection of Germany, came into the possession of
Madame Pauline Viardot; a new account of it is given by Viardot in the
"Illustration" of the year 1855 (Deutsch. N. Wien. Mus. Ztg., 1856, V.,
No. 9). He relates at the close that Rossini called upon him saying: "Je
vais m'agenouiller devant cette sainte relique"; and after turing over
the score exclaimed: "C'est le plus grand, c'est le maître de tous;
c'est le seul qui ait eu autant de science que de génie et autant de
génie que de science."]

[Footnote 145: The character and meaning of this remarkable and much-discussed
piece of music are so distinctly marked that they cannot fail to be
apprehended. CL Hoffmann's suggestions (Fantasiestücke, I., 4,
Ges. Schr., VII., p. 92), Ulibicheff (Mozart, III., p. 105), Krüger
(Beitrage, p. 160), and the elaborate analysis by Lobe (A. M. Z.t XLIX.,
pp. 369, 385, 417, 441), where the effort to trace everything back to a
conscious intention has led to some singular mis* apprehensions.]

[Footnote 146: In the overture to "Cosi fan Tutte" also, Mozart has made a
humorous use of a motif from the opera; and in both cases has made
it introductory to the principal subject of the overture, which is an
altogether independent composition. The superficial device of making
the whole overture an embodiment of different subjects from the opera, a
custom introduced by Weber, would not occur to artists whose aim was to
produce a consistent whole, working from within outwards.]

[Footnote 147: In the printed score, the B of the last bar is B flat; the
original has this B flat only in the last bar but one. The position
of this chord with C sharp above B natural is unusual, but not
unprecedented. Mozart has left the chief melody undisturbed to the first
violins, the B flat of the second violins corresponding to the C of the
flutes. The repetition of the passage in the second part of the overture
is not written out.]

[Footnote 148: Marpurg, Von der Fuge, II., p. 77. Kirnberger, Kunst des reinen
satzes, II., 2, p. 18. It will be found in the Kyrie of Stolzel's Missa
Canonica.]

[Footnote 149: Nägeli, who finds great fault with Mozart's "exaggerated and
licentious contrasts" (Vorlesungen, pp. 157, 160), asserts that the
allegro of the overture contains a bar too much, and that the rhythm is
thereby destroyed; a reproach which was thoroughly refuted by Kahlert
(N. Ztschr. f. Mus., XIX., p. 97).]

[Footnote 150: Mozart has suggested this train of ideas independently of Da
Ponte. To the Commendatore's reproach: "Cosi pretendi da me fuggir?" Don
Giovanni answers in the act of going, _sotto voce_, "Misero!" then to
the renewed exclamation, "Battiti!" he repeats, _piu voce_, "Misero!"
and not until the Commendatore has come close to him does he break out
with "Misero attendi!"]

[Footnote 151: The duel is simply and appropriately rendered by the answering
_whizzing_ passages for the violins and bass; very similar to Gluck's
ballet, only more elaborated.]

[Footnote 152: Gazzaniga has made a tolerably long piece of it, not without
expression, and the best in his opera--but how far apart from Mozart!]

[Footnote 153: Schaul (Briefe üb. d. Geschmack in der Musik, p. 51) cites this
sestet as an instance of Mozart's sins against sound sense, because it
is written in tragic instead of melodramatic style.]

[Footnote 154: The musical treatment of the words of the Commendatore has been
visibly influenced by Gluck's "Alceste." A comparison of the two will
show how skilfully Mozart introduced more delicate touches of detail
without injuring the imposing effect of the whole.]

[Footnote 155: A force and brilliancy are given to the wind instruments by means
of the trombone such as was never before dreamed of. Mozart's sheet with
the wind instruments is lost, but an old copy has the trombones.
They are not used in the overture, because he meant it to be merely
suggestive, and wished neither to lessen the impression of the actual
apparition, nor to disturb the tone character of the overture. Gugler
seeks to prove that the trombones were added later by Süssmayer
(Leipzig, A. M. Z., 1867, No. 1-3), which I am not prepared to allow.]

[Footnote 156: An instance is Leporello's confidential whisper to Elvira
(intensified in effect by the interrupted cadence on B flat and
the wonderful bassoon notes): "Sua passion predominante è la giovin
principiante]

[Footnote 157: The distinguishing form of imitation appears to be always
justified psychologically by its appropriateness to the particular
character; in the quartet, for instance, Donna Anna and Don Ottavio have
the imitation; in the first finale it is given to Zerlina and Masetto.]

[Footnote 158: A. M. Z., II., p. 538.]

[Footnote 159: Beethoven declared he could not write operas like "Figaro' and
"Don Juan"; they were repulsive to him (Rellstab, Aus meinem Leben, II.,
p. 240. Cf. Beethoven's Studien, Anh., p. 22). The pure morality of
the great man, both in his life and his art, must be reverently
acknowledged; at the same time, without allowing art to stray beyond
the bounds of morality, we would not willingly see it excluded from the
representation of this phase of human nature.]

[Footnote 160: There is no truth in the remark in the Fliegende Blättem f. Musik
(I., p. 184) that the song shows Don Giovanni as he wished to appear,
while the accompaniment indicates what he really was. Don Giovanni
expresses his real feelings, and the song is not mere hypocrisy. The
peculiar character of the accompaniment is brought about simply by the
nature of the instruments.]

[Footnote 161: This little duet and chorus is written on different paper, like
Masetto's air (Anh. 2). The two were not inserted later, but written in
Prague, during the rehearsals, when the whole of this part seems to have
been revised.]

[Footnote 162: In the autograph score the second part has no new tempo marked;
Mozart intended to denote the climax by the change of beat; not by
accelerated tempo. The chromatic interlude, which Ulibicheff looks
upon as a moral warning (Vol. II., p. 125), gives me the impression of
sensual longing.]

[Footnote 163: The words which are given to Don Giovanni after the recommencement
of the minuet, "Meco tu dei ballare, Zerlina vien pur qua," are not in
the original score, nor in the libretto; later on, when he leads her to
the country dance, he says: "Il tuo compagno io sono, Zerlina vien pur
quà."]

[Footnote 164: Mozart rightly calls the piece not terzetto, but aria, for Don
Giovanni's and Leporello's interruptions are only peculiarly constructed
ritornellos, and do not alter the very simple aria form of the piece.]

[Footnote 165: The assertion that Mozart wrote above the air "Nello stile di
Haendel" (Rochlitz, A. M. Z., I., p. 116) is unfounded.]

[Footnote 166: Ambros, "Grànzen der Musik und Poesie," p. 61.]

[Footnote 167: In the Fliegenden Blättern fur Musik (III., p. n.) it is pointed
out that the beginning of this melody is identical with the serenade,
and this is adduced as an instance of refined characterisation, meant
to indicate Don Giovanni's treachery to Elvira, whom he is addressing,
while he is thinking of the waiting-maid; there is no foundation for the
idea, however.]

[Footnote 168: Gumprecht's remarks on this are instructive (Klass. Sopran-album,
p. 8).]

[Footnote 169: Gazzaniga places it in recitative before the finale.]

[Footnote 170: It is an oft-repeated mistake that this part was written by Mozart
for Campi, who was born in Lublin, 1773, and had been a main support to
Guardasoni's company since 1791 (A. M. Z., II., p. 537).]

[Footnote 171: Marx, Berl. Mus. Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p.
251. Genast says (Aus d. Tageb. e. alten Schausp., III., p. 171)
that Bethmann rendered Donna Anna in this sense, and that upon his
representation Schröder-Devrient copied it. Cf. A. von Wolzogen, Wilh.
Schroder-Devrient, p. 163.]

[Footnote 172: It is a great improvement on Gazzaniga's libretto that Donna Anna
does not disappear after her first entrance, but takes the place in the
plot of the meaningless Eximena; but to invent new motives for her was
beyond Da Ponte's power.]

[Footnote 173: Ulibicheff (III., p. 113), Lobe (Flieg. Blätt. f. Mus., I., p.
221), Vincent (Leipz. Theat. Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860,
pp. 222, 231), have taken a right view of Don Ottavio's character.]

[Footnote 174: Marx considers the voice parts and the whole spirit of the aria
powerful and grand, but the instrumentation trivial (Kompositionslehre,
IV., p. 529); he conjectures that it may have been worked out by
Sussmayer. This conjecture is contradicted by the autograph score; and
we may rather believe that Mozart was actuated by consideration
for Saporiti's voice, and refrained from overpowering it by the
instrumentation.]

[Footnote 175: Even at the beginning of the finale there is no chorus of
villagers. Don Giovanni enters with several servants, who echo his
greeting to the guests: "Su corraggio, o buona gente!"]

[Footnote 176: Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.]

[Footnote 177: Da Ponte, Mem., III., i p. 80. A. M. Z., XXIV., p. 301. Cf. A.
Schebest, Aus d. Leben e. Kunstlerin, p. 203.]

[Footnote 178: Bitter, Mozart's "Don Juan," p. 82.]

[Footnote 179: The substitution of a letter in his stead, written by him to Donna
Anna, confuses the situation without helping out Don Ottavio. Gugler,
Morgenbl., 1865, No. 33, p. 780.]

[Footnote 180: Whoever has heard this air sung by a true artist will have been
convinced that the often-abused second movement of it is a necessary
element of the characterisation.]

[Footnote 181: The same jest has been introduced by Weber in the first act of
"Der Freischütz," when the village musicians fall into the ritornello
after the mocking chorus.]

[Footnote 182: The second and third orchestra consist only of two violins and
bass, the wind instruments of the first doing duty for all; Mozart
apparently wished to avoid a multiplication of effects.]

[Footnote 183: It is remarkable that there is in the music of "Don Giovanni" no
trace of national characterisation. In this dance-music, where it
might have occurred, in the table music of the second finale and in
the serenade, Mozart has drawn his inspiration from his immediate
surroundings, and has reproduced this directly upon the stage.]

[Footnote 184: The first idea which must occur to them on the breaking out of the
storm: "How differently this fête began," is humorously suggested in
the words--[See Page Image] an echo of Don Giovanni's exclamation: "Sù
svegliatevi da bravi!"]

[Footnote 185: It has been said that the whole of the table music was inserted in
Prague during the rehearsal, and it bears all the traces of a happy and
rapidly worked-out inspiration.]

[Footnote 186: A musical friend in 1822, forestalling Meyerbeer, proposed to
sing the part of the Commendatore through a speaking-trumpet behind the
stage, while an actor was going through the gestures on the stage. A. M.
Z., XXIV., p. 230.]

[Footnote 187: At Munich the close of the finale was formerly followed by the
chorus of Furies from Vogler's "Castor und Pollux," which is in the key
of A flat major! (A. M. Z., XXIII., p. 385.)]

[Footnote 188: Gugler conjectures that the abbreviation proceeds from Sussmayer
(Leipzig, A. M. Z., 1866, p. 92), which appears to me improbable.]

[Footnote 189: Gugler, Morgenbl., 1865, No. 32, p. 745.]

[Footnote 190: Castil-Blaze, Molière Musicien, I., p. 338.]

[Footnote 191: Argo, 1854, I., p. 365. Cf. Gantter, Ulibicheff, Mozart, III., p.
361. Viol, "Don Juan," p. 25.]

===

MOZART 39

BY DAVID WIDGER

CHAPTER XXXIX. OFFICIAL AND OCCASIONAL WORKS.

FROM a practical point of view, Mozart's "Don Giovanni" did no more
than his "Figaro" towards improving his position in Vienna. His painful
pecuniary circumstances may be gathered from his letters to Puchberg
in June, 1788. A glance at the catalogue of his compositions after his
return from Prague is sufficient to indicate the fact of their having
been produced at the pleasure of pupils or patrons:--

1787. December 11. Lied, "Die kleine Spinnerin" (531 K.).

1788. January 3. Allegro and andante for pianoforte in F major (533 K.).

January 14, 23, 27. Tänze (534-536 K.).

February 24. Pianoforte concerto in D major (537 K., part 20). March
4. Air for Madame Lange, "Ah se in ciel" (538 K.). March 5. Teutsches
Kriegslied for Baumann (539 K.).

March 19. Adagio for pianoforte, B minor (540 K.).

March 24, 28, 30. Pieces for insertion in "Don Giovanni" (525, 527, 528
K.).

In May. Arietta for Signor Albertarelli, "Un bacio di mano" in the opera
of "Le Gelosie Fortunate" (541 K.).

June 22. Terzet for piano, violin, and violoncello, E major (542 K.).

{OFFICIAL AND OCCASIONAL WORKS.}

(216)

1788. June 26. Symphony, E flat major (543 K.).

A short march for violin, flute, viola, horn, and violoncello, in D
major, unknown (544 K.).

A short pianoforte sonata for beginners in C major (545 K.).

A short adagio for two violins, viola, and bass, to a fugue in C minor
(546 K.).

July 10. Short pianoforte sonata for beginners, with violin, F major
(547 K.).

July 14. Terzet for piano, violin, and violoncello, in C major (548 K.).

July 16. Canzonette a 2 soprani e basso, "Più non si trovano" (549 K.).

July 25. Symphony in G minor (550 K.).

August 10. Symphony in C major (551 K.).

August 11. Ein Lied beim Auszug ins Feld, unknown (552 K.).[1]

September 2. Eight four-part and two three-part Canoni (553-562 K.).

September 27. Divertimento for violin, viola, and violoncello, in E flat
major (563 K.).

October 27. Terzet for piano, violin, and violoncello, in G major (564
K.).

October 30, December 6, December 24. Tänze (565, 567, 568 K.).

1789. January. German air, "Ohne Zwang aus freiem Triebe" (569 K.).

February. Pianoforte sonata in B flat major (570 K.).

February 21. Tänze (571 K.).

The symphonies in E flat major, G minor, and C major, written in the
three summer months of 1788, show that the inner strength was not
slumbering; but Mozart's appointment as chamber-composer to the Emperor
gave him no impulse to composition, and his official duties were
limited to the preparation of music for the masked balls in the imperial
Redoutensale.[2]

These Redoutensale are situated in the wing of the Hof-burg, which forms
the right side of the Josephsplatz, and originally contained a theatre,
where, upon festive occasions, operas and ballets were performed before
the court; after the erection of the Burgtheater, in 1752, the old
Hoftheater was

{MASKED BALLS.}

(217)

converted into the large and small Redoutensaal now existing, and
concerts, balls, and other entertainments given there. The balls were
masked, and took place on every Carnival Sunday, on Shrove-Tuesday, and
on the three last days of Carnival. Joseph II. favoured them as a means
of drawing different classes together, and frequently appeared at them
with his court; all ranks mixed freely, and considerable license was
allowed. The usual dances were minuets, country dances, and waltzes,
in the last of which only the lower classes joined, on account of the
crowding--just as is the case in "Don Giovanni" (p. 163). The
management of the Redoute was generally in the same hands as that of the
Opera-Theatre, the two being farmed out together. The court monopolised
the Opera-Theatre in 1778 and the Kàrnthnerthortheater in 1785, and kept
the control over them until August, 1794. Thus it came about that the
court theatrical-director ordered the dance music, and although the
pay was only a few ducats for a set of dances, the services of good
composers were claimed for the purpose; Haydn, Eybler, Gyrowetz, Hummel,
and Beethoven all composed for the Redoute, as well as Mozart.[3] During
the years succeeding his appointment--1788, 1789, 1791--Mozart composed
a number of different dances for the masked balls:--

1788. January 14. Country dance "Das Donnerwetter" (534 K.).

January 23. Country dance, "Die Bataille" (535 K.).

January 27. Six waltzes (536 K.).

October 30. Two country dances (565 K.).

December 6. Six waltzes (567 K.).

December 24. Twelve minuets (568 K.).

1789. February 21. Six waltzes (571 K.).

December. Twelve minuets (585 K.).

Twelve waltzes. N.B.--A country dance, "Der Sieg vom Helden Coburg"
(against the Turks, October, 1789) (586, 587 K.).

1791. January 23. Six minuets for the Redoute (599 K.).

January 29. Siz waltzes (600 K.).

February 5. Four minuets and four waltzes (601, 602 K.).

Two country dances. (603 K.).

{OFFICIAL AND OCCASIONAL WORKS.}

(218)

1791. February 12. Two minuets and two waltzes (604, 605 K.).

February 28. Country dance, "II. Trionfo delle Donne" (607 K.).

March 6. Country dance, "Die Leyer" (610 K.).[4]

Waltz with Leyer-trio (611 K.).[5]

No dances are chronicled in 1790, the illness and subsequent death of
the Emperor (February 20) having doubtless put a temporary stop to such
entertainments. Those in the list are for the most part composed for
full orchestra, and those with which I am acquainted make no claim to be
considered otherwise than as actual dance music, with pleasing melodies
and fresh rhythm--innocent recreations, betraying the master's hand in
touches here and there.[6] As the only musical task imposed upon him
by virtue of his office, they might well give rise to his bitter remark
that his salary was too high for what he did, too low for what he could
do (Vol. II., p. 276).

A commission more worthy his fame was intrusted to him by Van Swieten,
who, having brought with him from Berlin an enthusiastic admiration for
Handel's oratorios, sought to introduce them in Vienna. He not only gave
frequent concerts at his residence in the Renngasse, for the exclusive
performance of classical music, but he arranged grand performances of
Handel's oratorios, supported by all the vocal and instrumental forces
at his command. He induced several art-loving noblemen (among them the
Princes Schwarzen-berg, Lobkowitz, and Dietrichstein, Counts Appony,
Batthiany, Franz Esterhazy, &c.) to cover by a subscription the cost of
these performances. They took place generally in

{ARRANGEMENT OF HANDEL'S ORATORIOS.}

(219)

the great hall of the Court Library (of which Van Swieten was chief
director); sometimes at the palace of one or other of the patrons, and
always in the afternoon, by daylight. There was no charge for admission,
the audience being invited guests. The performances were arranged
according to circumstances, taking place generally in the spring, before
the nobility left Vienna for their country estates. The performers were
principally members of the Court-Kapelle and of the operatic orchestra,
and the preparation was undertaken entirely by Van Swieten, in whose
house the rehearsals took place. He himself arranged "Athalia," and very
probably also "The Choice of Hercules," for a performance after Mozart's
death. The conductorship was at first intrusted to Joseph Starzer, who
had arranged "Judas Maccabæus";[7] after his death, on April 22,
1787, Mozart took his place, and young Joseph Weigl accompanied on the
pianoforte.[8]

"Acisand Galatea" was first performed, Mozart's arrangement of it
appearing in his own catalogue, in November, 1788; Caroline Pichler
retained in her old age a lively recollection of the impression made on
her by this performance.[9] It was followed by the "Messiah," in March,
1789.[10] Great expectations were excited by this oratorio, by reason
of the magnificent performances of it which had been given at the London
Handel festivals in 1784 and 1785,[11] at the cathedral

{OFFICIAL AND OCCASIONAL WORKS.}

(220)

in Berlin, by Hiller, on May 19, 1786 (with Italian words),[12] at the
University Church in Leipzig,[13] on November 3,1786, and May 11,1787,
and at Breslau[14] on May 30,1788. Finally, in July, 1790, Mozart
arranged the "Ode for St. Cecilia's Day" and the "Feast of Alexander."
It was considered necessary, in order not to distract the attention of
the public by the unusual effects of Handel's orchestra, to modify
the instrumentation.[15] Even Hiller remarks (Nachricht, p. 14), "Many
improvements may be made in Handel's compositions by the employment of
the wind instruments, according to the fashion of the present day. In
the whole of the 'Messiah,' Handel appears never to have thought of the
oboes, flutes, or French horns, all of which are so often employed to
heighten or strengthen the effect in our present orchestras. I need not
remark that the alterations must be made with care and discretion." But
he went far beyond these "innocent" views; he shortened and altered the
composition itself, especially in the airs and recitatives, and wrote
"an entirely new score, as far as may be what Handel would himself have
written at the present day" (Betracht-ungen, p. 16). He was convinced
that "only a pedantic lover of old fashions, or a pedantic contemner
of what is good in the new ones" would find fault with this proceeding
(Betracht-ungen, p. 18). The object with which Mozart undertook to
rearrange the instrumentation of Handel's works was the strengthening
and enriching of the orchestra to enable it to dispense with the organ
or harpsichord, to which the working-out of the harmonies had originally
been intrusted. This was principally effected by the introduction of
wind

{ARRANGEMENT OF HANDEL'S ORATORIOS.}

(221)

instruments. Mozart's autograph scores of "Acis and Galatea" (566 K.),
of "The Ode for St. Cecilia's Day" (592 K.),[16] and of the "Feast of
Alexander" (591 K.),[17] preserved in the Royal Library in Berlin, show
how he set about his task. The voice parts and stringed instruments have
been transferred to his score, and left as Handel wrote them, with the
exception that where Handel has provided a violin part, Mozart
employs the second violin and viola to fill in the harmonies. The wind
instruments have been altogether omitted by the copyist in order
to leave Mozart free play. Wherever Handel has employed them
characteristically, they are so preserved, but when, as often happens,
the oboes are the sole representatives of the wind instruments, Mozart
has proceeded independently, sometimes replacing them by other single
instruments, frequently clarinets--flutes only very occasionally,
sometimes introducing the whole body of wind instruments. This he does
also in some places where Handel has not even employed oboes, if it is
needed to give force or fulness to the whole.

The frequent introduction of the clarinets replaced the full and
powerful organ tones, but without any express imitation of that
particular sound-effect by Mozart. The whole character of the
instrumentation was necessarily modified, and even the portions which
were literally

{OFFICIAL AND OCCASIONAL WORKS.}

(222)

transcribed from Handel's original have a very different effect in their
altered surroundings. Mozart has proceeded quite as independently in
dealing with the harpsichord parts. Not content with filling in the
prescribed or suggested harmonies and regulating the due succession of
chords, he has also made an independent disposition of the middle
parts and given them free movement. The subjects employed by Handel are
further developed, and sometimes a new motif has occurred to him as
an enlivenment to the accompaniment, in which case the additional wind
instruments are employed to advantage. The harpsichord is treated, in
the main, as might be expected from a first-rate organist of that time,
and it is difficult at the present day to reproduce what so much depends
upon the free co-operation of the performer.[18] The objection
which may be raised against the alteration and partial remodelling of
a carefully thought-out and finished work by a strange hand is
unanswerable. The most loving and intelligent treatment cannot avoid
inequality and incongruity; compared with what has been literally
transmitted, every modification reflects, both in kind and degree, the
individual learning and taste of the adapter. On the whole, however,
Mozart's arrangements evince the greatest reverence for Handel, combined
with a masterly use of all available resources, and they afford a
proof as interesting as it is instructive of the study which Mozart had
bestowed upon Handel, of the spirit in which he undertook his task, and
of his thorough and delicate apprehension of foreign creations.

Mozart had heard the "Messiah" in 1777 at Mannheim, but apparently it
had made no more lasting impression upon him than upon the public. Now,
however, he approached the masterpiece with far other predilections,
and the adaptation opened to him many points of interest. The three
oratorios already mentioned were so moderate in length as to be suited
for performance entire, but the greatly

{THE "MESSIAH."}

(223)

disproportionate length of the "Messiah" made its curtailment a
necessary part of its adaptation (572 K.). Several pieces were omitted,
and others were shortened; but a proof that other and more important
alterations were contemplated is afforded by a letter from Van Swieten
to Mozart (March 21, 1789), given by Niemetschek (p. 46): "Your idea
of turning the words of the unimpassioned air into a recitative is
excellent; and in case you should not have retained the words, I have
copied and now send them to you. The musician who is able to adapt and
to amplify Handel's work so reverently and so judiciously, that on
the one side he satisfies modern taste, and on the other preserves the
integrity of his subject, has appreciated the great master's work, has
penetrated to the source of his inspiration, and will doubtless draw
from the same well himself. It is thus that I regard what you have
accomplished, and I need not therefore again assure you of my entire
confidence, but only beg you to let me have the recitative as soon as
possible." Nevertheless, this idea, judging from the published score,
was not carried out. In the arrangement of the orchestra, Mozart has
gone further than in the previous works. Sometimes there has been an
external necessity for altering even characteristic instrumentation,
as in the air, "The trumpet shall sound" (No. 44). There were no solo
trumpeters such as existed in Handel's time, and an attempt was made to
preserve the effect as far as possible by rearrangement. He has altered,
however, even without such occasion as this, and many instances of
instrumental arrangement might be cited as far transgressing the bounds
within which interference with a work of art is justifiable.[19]
In themselves these same portions are admirable alike in their
sound-effects and musical treatment, and in the delicate discrimination
with which Mozart has made his additions appear as the natural
development of Handel's ideas; we can see how the fascination of
continuing the weaving of the threads from the master's hands has
tempted

{OFFICIAL AND OCCASIONAL WORKS.}

(224)

him to overstep the boundary. In doing so, however, the connection of
the parts has been lost, and the unity of the whole has been disturbed.
One of the most remarkable examples is the air, "The people that walked
in darkness," in which the wind instruments added by Mozart are foreign
to Handel's purpose, but nevertheless of very fine effect, and certainly
not deserving of the reproach of "doleful sound-painting" ("betrübter
Malerei").[20] It was to be expected that Mozart's adaptation should
attract both praise[21] and blame,[22] while those, such as Rochlitz[23]
and Zelter,[24] who went deeper into the subject found much that was
excellent and also much that was faulty in the work, at the same time
that they gave due consideration to the occasion that called it forth
and the design with which it was undertaken.

It must not be forgotten that these adaptations were undertaken by
Mozart solely for Van Swieten's performances, and that his individual
taste and the exigences of the representation must have exercised
considerable influence upon them. He must certainly not be credited with
the wish to improve upon Handel;[25] his intention has rather been so to
popularise his works as to bring them home to the

{ADAPTATIONS OF EARLIER WORKS.}

(225)

public, without altering any of the more important parts. That the
adaptations should have been published and accepted as regular improved
editions of the original was not his fault, though he has often had to
do penance for it. It must be remembered also that the historic theory
which holds that every work of art should be carefully preserved in the
form wherein its author has embodied it was then non-existent.

The majority of compositions have been directly the result of
circumstances determining the direction of the artist's energies; they
laboured for the future while seeking to satisfy the present. They
therefore made free use of their works for subsequent elaboration,
altering what was needful, and adapting them to the particular occasions
on which they were performed by means of additions, omissions, and
alterations. The same freedom was thought allowable with the works of
other masters, especially those of an earlier time, so that the public
might the more easily and comfortably enjoy what was set before it. A
knowledge of what was then thought excusable in this direction[26] will
serve to increase our respect for the artistic spirit in which Mozart
performed his task.[27] The scientific and historic ideas which have
permeated the cultivation of our times require the enjoyment of a work
of art to be founded upon historical insight and appreciation, and to
this end it must be represented exactly as the artist has produced it.
But this principle, true as it is in itself, can only be applied with
considerable practical limitations, and it is doubtful how far the
general public is capable of apprehending and approving it; in any case
it is much to be desired that the fashion in such matters should not be
set by pedants.[28]

FOOTNOTES OF CHAPTER XXXIX.

[Footnote 1: Wien. Ztg., 1789, No. 69, Anh., advertises Frûhlingslied and
Kriegslied by Mozart.]

[Footnote 2: In the grand pasticcio arranged by Da Ponte, "L'Ape Musicale," a
couple of airs by Mozart are inserted (Wien. Ztg., 1789, No. 23, Anh.).]

[Footnote 3: I owe these particulars to the courtesy of Sonnleithner.]

[Footnote 4: Wien. Ztg., 1791, No. 44, Anh., announces thirteen German
waltzes, thirteen trios and coda, among which are the "Leyer" and
"Schlittenlahrt."]

[Footnote 5: André's Catalogue includes, besides five minuets signed "Di
Wolfgango Amadeo Mozart, Vienna, 1784" (461 K.), and the Prague
"Teutschen" (509 K.) already mentioned (Vol. III., p. 125), several
other dances, certainly belonging to an earlier date. Printed and
written collections of dances in the most varied arrangements have been
circulated under Mozart's name, although of very doubtful authenticity.]

[Footnote 6: Under Mozart's name an "Anleitung soviel Walzer oder Schleifer
mit zwei Wurfeln zu componiren, soviel man will, ohne musikalisch zu
verstehen," was published in four languages by Hammel (Amsterdam, Berlin
and elsewhere). I am not aware whether he had any share in it.]

[Footnote 7: The often-expressed opinion that Mozart arranged "Judas Maccabæus"
(A. M. Z., XXII., p. 30) has been corrected by Sonnleithner (Cäcilia,
XVIII., p. 242). "Judas Maccabæus" was performed as early as 1779, at
the Concert for the Pensionsinstitut (Wien. Mus. Ztg., 1842, p. 70).]

[Footnote 8: These particulars, communicated to me by Sonnleithner, rest partly
on the testimony of the University Apparitor, Joh. Schönauer, who had
assisted at these performances as a boy.]

[Footnote 9: Car. Pichler, Denkw., IV., p. 21. Schönauer said that Mozart gave
a benefit performance of "Acis and Galatea" in Jahn's Hall, at which
Mdlle. Cavalieri, Adamberger, and Gsur sang the solo parts.]

[Footnote 10: Carpani mentions a performance of the "Messiah" in the
Schwarzenberg Palace; perhaps a later one (Hayd., p. 64).]

[Footnote 11: Burney's "Nachricht," translated by Eschenburg (Berlin, 1785). The
first time there were over 500, the second time over 660 performers. In
consequence of this the "Messiah" was performed in Copenhagen in March,
1786. (Cramer, Mag. f. Mus., II., p. 960.)]

[Footnote 12: J. A. Hiller, Nachricht von der Auftuhrung des Händelschen Messias
(Berlin, 1786, 4), with Hiller's portrait. There were about 300
performers.]

[Footnote 13: This again gave rise to some explanatory pamphlets from Hiller:
Fragment aus Handel's Messias; Ueber Alt und Neu in der Musik; Der
Messias von Handel nebst angehängten Betrachtungen darûber. On this
occasion there were more than 200 performers; the enthusiasm of the
audience was great, as was testified by a then youthful member of it
(Reichardt's Mus. Ztg., I., p. 126. Cf. Rochlitz, Für Freunde der Tonk.,