Life of Mozart

—210 " DON GIOVANNI.mood and tone. All present, except Don Giovanni andLeporello, are inspired by one sentiment, and form a compactand solid mass opposing the two, either in unison or bymeans of a purely harmonious treatment of the voices. Onlyat particular points, such as the unmasking, do the differentcharacters stand out, and the imitation by means of whichthe parts are again united emphasises the impression ofstrict connection between them. This kind of groupingrequires a broad, grand treatment, and a more forcibletone both for the voices and the orchestra. Mozarthas nevertheless happily avoided the adoption of a tragictone, which would have been unsuited to the situation. Thecase is not, after all, too grave to allow of Don Giovanni andLeporello expressing their confusion and dismay comically,after their manner, and the humorous character of the operais thereby preserved. -^^^ Still more simple is the constructionof the second finale. The introduction of table music takenfrom different operas renders the supper scene a very masterpieceof musical fun ;but the episode has no direct connectionwith the action.^^^ This begins with the entrance ofElvira, with a gravity and an impulse which have beenwanting since the beginning of the opera. In opposition toElvira's glowing passion, to which her higher resolveslendnobler impulse than before, so that even Leporello is carriedaway by her energy, Don Giovanni's sensuality stands out instronger relief, until it outrages man's noblest and mostsacred feelings; the contradiction develops a depth of pathos18* The first idea which must occur to them on the brealcing out of the storm:" How differently this fete began," is humorously suggested in the wordsVni.^''^'' ^'' *''Leporello.con - fu - sa la mia te - staan echo of Don Giovanni's exclamation :" Sü svegliatevi da bravi !"185 It has been said that the whole of the table music was inserted in Pragueduring the rehearsal, and it bears all the traces of a happy and rapidly workedoutinspiration.