Life of Mozart

—igö"don GIOVANNI."redoubled, he mocks at her with all the frivolity ofhis pleasure-seeking nature. This is too much even forLeporello : he sympathetically approaches Elvira ; andthe effect is very fine, when the same notes whichseemed to threaten annihilation by their weight at Elvira'sentrance are heard from the mouth of Leporello. DonGiovanni's overbearing insolence increases and calls downupon him the fate to which, now that even Elvira hasleft him, he is doomed to hasten. This scene is again avery masterpiece of high dramatic art. A flow of passionateemotion, like a lava stream down the mountain side, succeedsto 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 itstrumpets and drums and lively passages for the stringedinstruments, is succeeded by the arranged harmony music,against which the fullof wind and stringed instruments, stands in bold relief. DonGiovanni and Elvira are here for the first time opposedon equal terms. Her passionate emotion is purified andennobled without any loss of strength or reality ; and heorchestra, with the combined strengthwhich Vv^oulddisplays an energy and keen enjoyment of lifehave something great in it if it were directed to higher aims,but which here excites only horror. It prepares us for theresistance which he is to make to the spectral apparition ;but the insolent scorn with which he hardens himself againstElvira's prayers is more shocking to the feelings than his determinedresistance to the horrors of the nether world, whereinwe cannot but grant him our sympathy. Sharply accentedDonThis is dueas are the mocking tone of mind and the sensuality ofGiovanni, we never find him vulgar or revolting.to the combination of strength and boldness with beauty ofform in the music allotted to him. What can be more impressivethan the oft-repeated motif given to Don Giovanni:^i^ii^i=i^#=ili