Chapter XXXVIII · "DON GIOVANNI."

MOZART had been so well satisfied with Da Ponte's libretto for "Figaro" that he had no hesitation in intrusting the new libretto to him, and immediately on his return to Vienna they consulted together as to the choice of subject. Da Ponte, fully convinced of the many-sidedness of Mozart's genius, proposed "Don Giovanni," and Mozart at once agreed to it. Da Ponte relates, 1 with an amusing amount of swagger, that he was engaged at one and the same time on "Tarar" for Salieri, on the "Arbore di Diana" for Martin, and on "Don Giovanni" for Mozart. Joseph II. made some remonstrance on this, to which Da Ponte answered that he would do his best; he could write for Mozart at night and imagine himself reading Dante's "Inferno"; for Martin in the morning, and be reminded of Petrarch; and in the evening for Salieri, who should be his Tasso. Thereupon he set to work, a bottle of wine and his Spanish snuffbox before him, and his hostess's pretty daughter by his side to enact the part of inspiring muse. The first day, the two first scenes of "Don Giovanni," two scenes of the "Arbore di Diana," and more than half of the first act of "Tarar" were written, and in sixty-three days the whole of the first two operas and two-thirds of the last were ready. Unfortunately we have no certain information either of the share taken by Mozart in the construction of the text, nor of the manner in which his composition was carried on. The warmth of his reception at Prague made the contrast of his position in Vienna all the more galling to him. On the departure of Storace, Kelly, and Attwood for England, in February, 1787, he had seriously entertained the idea of following them as soon as they had found a situation worthy of his acceptance VIENNA, 1787—DITTERSDORF. in London. The bass singer Fischer, who was visiting Vienna, 2 wrote in Mozart's album on April 1, 1787, the following verses, more well-meaning than poetical:—

The lines throw a light on Mozart's relations to his fellow-artists, and the hint contained in Barisani's album verses, written on April 14, 1787, that the Italian composers envied him his art (Vol. II., p. 306), leaves no doubt as to whose envy, in the opinion of himself and his friends, he had to dread. A musical connoisseur, visiting Vienna on his return from Italy in the spring of 1787, 3 found everybody engrossed with Martin's "Cosa Rara," which, Storace's departure having rendered its performance in Italian impossible, was being played in a German adaptation at the Marinelli theatre with success. Dittersdorfs success in German opera had also the effect of throwing Mozart completely into the shade.

Dittersdorf (1739-1799) 4 came to Vienna during Lent, 1786, 5 to produce his oratorio of "Job" at the concerts of the Musical Society, and he afterwards gave two concerts in the Augarten, at which his symphonies on Ovid's "Metamorphoses" were performed. The genuine success of these compositions led to his being requested to write a German opera. Stephanie junior, theatrical director at the time, provided him with the incredibly dull libretto of the "Doctor und Apotheker," which was played for the first DON GIOVANNI. time on July 11, 1786, and twenty times subsequently during the year. That which had not been attained by the success of the "Entführung," happened in this case. Dittersdorf was at once requested to write a second opera, "Betrug durch Aberglauben," which was performed on October 3, 1786, with not less applause than the first; it was followed by a third "Die Liebe im Narrenhause," also very well received on April 12, 1787. On the other hand, an Italian opera by Dittersdorf, "Democrito Corretto," first performed on January 2, 1787, was a complete failure. Dittersdorf's brilliant triumph over such composers as Umlauf, Hanke, or Ruprecht, is not to be wondered at; his operas rapidly spread from Vienna to all the other German theatres, and he acquired a popularity far in excess of most other composers. 6 True merit was undoubtedly at the bottom of this; he was skilful in appropriating the good points both of opera buffa and of French comic opera, and his finales and ensemble movements are specially happy in effect; he was not only thoroughly experienced in the management of voices, but, being a fertile instrumental composer, he had learnt from the example and precedent of Haydn to employ his orchestra independently, and with good effect. His easy flow of invention furnished him with an abundance of pleasing melodies, a considerable amount of comic talent showed itself in somewhat highly flavoured jokes, and his music had an easy-going, good-tempered character, which, though often sinking into Philistinism, was, nevertheless, genuinely German. Far behind Grétry as he was in intellect and refinement, he decidedly excelled him in musical ability. Life and originality were incontestably his, but depth of feeling or nobility of form will be sought for in vain in his works. Each new opera was a mere repetition of that which had first been so successful, affording constant proof of his limited powers, which were rightly estimated by some of his contemporaries. 7 Joseph II. COMPOSITIONS IN 1787. shared the partiality of the public for Dittersdorf's lighter style of music, and rewarded him munificently when he left Vienna in the spring of 1787. But the Emperor took no real interest in German opera—the company received their dismissal in the autumn of 1787, and the performances ceased in February, 1788. 8

Mozart's autograph Thematic Catalogue contains few important works between his return to Vienna and his second journey to Prague:—

1787. March 11. Rondo for pianoforte, A minor (511 K.).

March 18. Scena for Fischer, "Non sö d'onde viene" (512 K.).

March 23. Air for Gottfried von Jacquin, "M entre ti lascio" (513 K.).

April 6. Rondo for the horn, for Leutgeb (514 K.).

April 19. Quintet for two violins, two violas, and violoncello, C major (Vol. III., p. 19) (515 K.).

May 16. Quintet, G minor (Vol. III., p. 20) (516 K.).

May 18, 20, 23, 26. A song on each (517-520 K.).

May 20. A piano sonata for four hands, in C major (521 K.).

June 11. A musical jest (Vol. II., p. 367, 522 K.).

June 24. Two songs (523, 524 K.).

August 10. Serenade (525 K.).

August 24. Pianoforte sonata with violin, in A major (526 K.).

These were probably all composed for social or teaching purposes; even the two quintets, which are worthy of the first rank, were no doubt written to order for a particular musical circle. Nor were these compositions to the taste of the Viennese public of the day. The traveller already mentioned notes as follows: 9 —

Kozeluch's works hold their ground, and are always acceptable, while Mozart's are not by any means so popular. It is true; and the fact receives fresh confirmation from his quartets dedicated to Haydn, that he has a decided leaning to what is difficult and unusual. But on the other hand, how great and noble are his ideas—how daring a spirit does he display in them!

The amount of industry with which Mozart worked at "Don Giovanni" is unknown to us. We may conclude that, if he followed his usual habit, he plunged eagerly into his new libretto at first, and afterwards procrastinated over DON GIOVANNI. the actual transcription of his ideas. The received tradition represents him as bringing the unfinished opera to Prague in September, 1787, 10 and completing it, incited by intercourse with the intended performers and the stimulating society of his enthusiastic friends and admirers. 11 The impresario, who was bound to provide accommodation for the composer until after the performance, had lodged Mozart in a house, "bei drei Löwen" (on the market-place). 12 He preferred, however, the vineyard of his friend Duschek at Kossir (Kosohirz); and the summer-house and stone table are still shown at which he used to sit writing his score, with lively talk and bowl-playing going on round him. 13 All such stories as those of the delicate diplomacy with which Mozart apportioned the several parts to the satisfaction of the performers, of his having been obliged to appease L. Bassi, indignant at Don Giovanni having no proper grand air to sing; of his having composed "La ci darem la mano" five times before he could satisfy the singers, 14 repose on the same foundation as those of his PERFORMANCE IN PRAGUE, 1787. love-making with the female performers. 15 As to this, we know his relations with the Duscheks; Teresa Saporiti is said to have expressed her surprise that so great an artist should be so insignificant in appearance; whereat Mozart, touched on his weakest point, diverted his attentions from her and bestowed them on Micelli or Bondini—there were no other female artists in Prague at that time. We are unfortunate in having no information as to the influence exerted on the details of the composition by the idiosyncracies of the singers and other circumstances. Two anecdotes obtained credence at the time, both relating to the rehearsals for which Da Ponte had also come from Vienna; 16 he was lodged at the back of the inn "Zum Platteis," and the poet and composer could converse with each other from their respective windows.

In the finale of the first act Teresa Bondini as Zerlina failed to utter the cry for help in a sufficiently spontaneous manner. After many vain attempts, Mozart went himself on to the stage, had the whole thing repeated, and at the right moment gave the singer so unexpected and severe a push that she shrieked out in alarm. "That's right," he exclaimed, laughing, "that is the way to shriek!" The words of the Commendatore in the churchyard scene were originally, it is said, accompanied only by the trombones. The trombone-players failing to execute the passage, Mozart went to the desk, and began to explain how it might be done, whereupon one of them said: "It cannot be played in that way, nor can even you teach us how to do it." Mozart answered, laughing: "God forbid that I should teach you to play the trumpet; give me the parts, and I will alter them." He did so accordingly, and added the wood wind instruments. 17

DON GIOVANNI.

A good omen for the reception of the new opera was afforded by a brilliant performance of "Figaro" on October 14, 18 under Mozart's direction, in honour of the bride of Prince Anton of Saxony, the Archduchess Maria Theresa of Toscana, who was passing through Prague on her wedding tour. 19 Nevertheless, Mozart himself felt far from secure of the success of "Don Giovanni"; and after the first rehearsal, while taking a walk with the orchestral conductor Kucharz, he asked him in confidence what he thought of the opera, and whether it was likely to achieve so decided a success as that of "Figaro." Kucharz answered that he could entertain no doubt of the success of such fine and original music, and that anything coming from Mozart would meet with ready recognition from the Prague public. Mozart declared himself satisfied with such an opinion from a musician, and said he was ready to spare neither pains nor labour to produce a work worthy of Prague. 20

Thus approached the day of performance, October 29 (not November 4), 1787; and on the previous evening the overture was still unwritten, to the great consternation of Mozart's assembled friends. We have already told (Vol. II., p. 414) how he parted late from the merry company, and sat down to write with a glass of punch before him, and his wife telling him stories by his side; how sleep overcame him, and he was obliged to lie down for several hours before completing his task; and how the copyist was sent for at seven o'clock in the morning, and the overture was ready at SUCCESS IN PRAGUE

the appointed time. 21 There was barely time to write out the parts before the beginning of the opera, which indeed was somewhat delayed on this account. The well-drilled and inspired orchestra played the overture at sight so well that, during the introduction to the first act, Mozart observed to the instrumentalists near him: "Some of the notes fell under the desks, it is true, but the overture went capitally upon the whole." The success of the first representation was brilliant. The theatre was full to overflowing, and Mozart's appearance as conductor at the piano was the signal for enthusiastic clapping and huzzas. The suspense with which the overture was awaited found vent in a very storm of applause, which accompanied the opera from beginning to end. The cast of this performance was as follows:—[See Page Images]

The performance, though not including any virtuosi of the first rank or fame, was considered an excellent one; the inspiring influence of the maestro and the elevated mood of the public united to induce the performers to put forth all their powers, and stimulated them to extraordinary efforts. Guardasoni, who was associated with Bondini in the management of the theatre, 22 was so delighted with the success of DON GIOVANNI. the opera that he announced it to Da Ponte (who had been obliged to hurry back to Vienna to put "Axur" upon the stage) in the words: "Evviva Da Ponte, ewiva Mozart! Tutti gli impresari, tutti i virtuosi devono benedirli! finchè essi vivranno, son si saprà mai, cosa sia miseria teatrale." 23 Mozart also communicated to' Da Ponte the happy result of their joint labours, and wrote to Gottfried von Jacquin (November 4, 1787):—

Dearest Friend,—I hope you have received my letters. On October 29, my opera, "Don Giovanni," was put in scena, with the most unqualified success. Yesterday it was performed for the fourth time, for my benefit.

I intend to leave here on the 12th or 13th, and as soon as I arrive in Vienna you shall have the airs to sing. N.B.—Between ourselves—I only wish my good friends (particularly Bridi and yourself) could be here for a single evening to share in my triumph. Perhaps it will be performed in Vienna. I hope so. They are trying all they can here to persuade me to remain two months longer, and write another opera; but flattering as the proposal is, I cannot accept it. 24

Mozart met with constant and unequivocal proofs of esteem on all sides during his visit to Prague; an esteem, too, not of mere fashion or prejudice, but founded on a genuine love of art; he gave himself up unreservedly to the pleasure afforded him by intercourse with his friends and admirers; and many of these retained long after, as Niemet-schek says (p. 93), the memory of the hours passed in his society. He was as artless and confiding as a child, and overflowing with fun and merriment; it was difficult for SONG FOR MADAME DUSCHEK, 1787. strangers to realise that they were in the society of the great and admired artist.

Mozart had promised his friend, Madame Duschek, that he would compose a new concert air for her; as usual, however, he could not be brought to the point of transcribing it. One day she locked him into a summer-house on the Weinberg, and declared she would not let him out until he had finished the air. He set to work at once, but having completed his task, retorted that if she could not sing the song correctly and well at first sight, he would not give it to her. 25 In truth, the words: "Quest' affanno, questo passo è terribile," in the andante of this song ("Bella mia fiamma," 528 K., part 2) are rendered after a highly characteristic manner; and the intervals for the voice, not easy in themselves, become, by their harmonic disposition, a severe test of pure and correct intonation. Altogether, this is one of the most beautiful of Mozart's concert airs; it makes no great claims on the singer's powers of execution, but it requires a soprano voice of considerable compass and power, and a grand and expressive delivery. It is interesting to observe how this song, animated and energetic as it is in expression, yet differs essentially from the properly dramatic music of "Don Giovanni." Unconnected with any plot, and not designed for the stage, the situation adopts a modified character, the concert singer being in a totally different position from the actor; and the form in which the composer clothes his conception is suitably modified also. On November 15, 1787, immediately after Mozart's return to Vienna, Gluck died; and the success of "Don Giovanni" in Prague may have contributed to induce Joseph II. to retain Mozart in Vienna by appointing him Chamber-Musi-cian (Kammermusikus) on December 7, 1787. For the present, however, there was no prospect of a performance of "Don Giovanni" in Vienna.

Salieri had produced his opera of "Tarar" in Paris, in June, 1787, Beaumarchais having spared no pains to create DON GIOVANNI. an effect by a lively and exciting plot, by lavish decorations and costumes, and by political and philosophical allusions. The public was at first somewhat disappointed, and the music was considered inferior to that of the "Danaides," produced in 1774; but the extraordinary piece made in the end a great effect, and attracted large audiences. 26 The Emperor was exceedingly pleased with the music, and commissioned Da Ponte to prepare Italian words for it upon the occasion of the marriage of the Archduke Francis with the Princess Elizabeth. This Italian opera of "Axur" retained only the groundwork of the original, both the words and the music being completely remodelled. Da Ponte gave fresh proof of his dexterity, and Salieri, finding his task far more congenial than before, did not grudge the trouble of recomposition. 27 On January 8, 1788, the Festival opera "Axur" was performed as a "Freispektakel," the betrothal of the distinguished pair by the Archduke Maximilian having taken place on January 6. 28 At first the audience were somewhat taken aback by the traces of the French "Tarar" in the Italian "Axur," but very soon they felt the lively, brilliantly appointed plot, and the freer development of musical forms to be additional charms bestowed on the essentially Italian music. Several representations, following in quick succession, increased the favour in which this opera came to be held in Vienna, 29 especially by the Emperor Joseph, 30 and very soon on every stage in Germany. 31

The present, therefore, was no time for "Don Giovanni." Mozart catered for the amusement of the Viennese by the dances (534-536 K.), which he wrote in January, 1788, for the balls in the Redoutensaale, and he indulged his patriotic feelings by a song on the Turkish war, which Baumann sang at the theatre in the Leopoldstadt (539 K.). He PERFORMANCE IN VIENNA, 1788. appears also to have given a concert during Lent, for which he wrote his pianoforte concerto in D major (537 K.). But Joseph II. commanded the production of "Don Giovanni," and there was no more to be said; it was given on May 7, 1788, 32 and was a failure. Everybody, says Da Ponte, 33 except Mozart, thought it a mistake; additions were made, airs were altered, but no applause followed. Nevertheless Da Ponte took Mozart's advice, and had the opera repeated several times in quick succession, so that people grew accustomed to what was unusual, and the applause increased with every representation. 34 The cast of the opera in Vienna was as follows:—[See Page Image]

There was no reason, as will be acknowledged, to ascribe the tardy success of "Don Giovanni" to the inferiority of its performance. 35 Da Ponte appears also to have DON GIOVANNI. exaggerated with respect to the frequent alterations. Mozart's Thematic Catalogue contains three pieces for insertion written before the first performance (April 24, 28, 30) and incorporated in the book of words. 36 Mdlle. Cavalieri, of whom it was said at the time 37 that, deserving to be placed in the first rank of Italian singers, and almost deified as she was in Italy, not a word in her praise was ever uttered in Vienna, insisted on having a grand scena in the part of Elvira, in order to maintain her reputation as a singer. This gave rise (April 30) to the magnificent air "Mi tradi quell' alma ingrata" (527, 25 K.). 38 Mozart could not indeed persuade himself to sacrifice so much to the "voluble organ of Mdlle. Cavalieri" as he had formerly done in the "Entführung" (Vol. II., p. 235), but even as it is, the dramatic interest has to yield to the vocal—the character of Elvira to the individuality of the singer. The tenor singer, Signor Francesco Morelia, 39 on the contrary, seems to have found Ottavio's grand air too much for him, and the air in G major "Della sua pace" (527, 27 K.), composed for him is more modest in every respect.

A stronger effort after popularity was made by the duet between Zerlina and Leporello, "Per queste tue manine" (527, 28 K.). The situation is broadly comic, and has no proper connection with the plot; Leporello is roundly abused, and finally tied hand and foot by Zerlina. It was probably intended as a sacrifice to the taste of the audience, who expected an opera buffa to make them laugh heartily. We know that Benucci was an excellent comedian in every branch of his art, and this duet leads to the conclusion that Signora Mombelli's forte was buffa. Zerlina expresses her anger and revenge volubly enough, but her own special grace CRITIQUES ON DON GIOVANNI. and roguery have quite deserted her here. In a true opera buffa the duet would have been quite in keeping; but it is out of place in "Don Giovanni," because it brings Leporello and Zerlina to the foreground in a degree which does not accord with the plot, and places them both in a harsh light, false to their character as elsewhere displayed. Mozart was right, then, in his opinion that additions and alterations were not the means to make his opera gain favour; it was altogether too unusual a phenomenon to take immediate effect upon a Viennese audience. We have already seen how Haydn was constrained to put to silence the adverse criticisms of musicians and connoisseurs assembled at Count Rosenberg's, by declaring his conviction that Mozart was the greatest composer in the world. "Don Giovanni" first made its way upon the stages of Germany in German adaptations. It was given at Mannheim with extraordinary success in October, 1789, 40 and Schroder produced it in Hamburg at about the same time; Schink, while severely criticising the libretto of the opera, expresses himself enthusiastically in praise of the music—

How can this music, so full of force, majesty, and grandeur, be expected to please the lovers of ordinary opera, who bring their ears to the theatre with them, but leave their hearts at home? The grand and noble qualities of the music in "Don Juan" will appeal only to the small minority of the elect. It is not such as to tickle the ear of the crowd, and leave the heart unsatisfied. Mozart is no ordinary composer. His music has been profoundly felt and thought out in its relation to the characters, situations, and sentiments of his personages. It is a study in language, treated musically. He never decks out his songs with unnecessary and meaningless passages. That is the way in which expression is banished from music: expression consisting not in particular words, but in the skilful and natural combination of sounds as a medium of real emotion. Of this method of expression Mozart is a consummate master. Each sound which he produces has its origin in emotion, and overflows with it. His expression is glowing with life and picturesqueness, yet without the taint of voluptuousness. He has the richest, and at the same time the most temperate imagination. He is a true virtuoso, never allowing his creative impulse to run away with his judgment; his inspiration is guided by reason, his impersonations are the result of calm deliberation. 41

DON GIOVANNI.

The Berlin criticism was not quite so favourable, the opera having been there performed for the first time in the presence of the King on December 20, 1790: 42 —

If ever an opera was looked forward to with curiosity, if ever a composition of Mozart's was lauded to the skies before its performance, it was surely this "Don Juan." Every one will allow that Mozart is a great and admirable composer, but that nothing good or great has been written before this opera, or will be written after it, is a point on which we may be allowed to doubt. Theatrical music admits of no rules, of no appeal but to the heart, and its worth is in proportion to its effect thereon. No amount of art in heaping up instrumental effects will make a great musician or render his name immortal, unless he can give utterance to the passions and emotions of the heart. Grétry, Monsigny, and Philidor are instances to the point. Mozart has aimed at writing something extraordinary, something inimitably grand in his "Don Juan"; the extraordinary is there, certainly, but not the inimitably grand. Vanity, eccentricity, fancy, have created "Don Juan," not the heart; and we should have preferred being called upon to admire the highest capabilities of music in one of his oratorios or solemn church compositions than in his "Don Juan." 43

The extraordinary success of the opera 44 is attested by a notice of it 45 which proceeds to prove that this musical drama satisfies the eye, enchants the ear, does violence to the intellect, offends against morals, and suffers vice to trample upon virtue and good feeling. The author of the criticism accounts for the popularity of the opera by the quality of the music, which is beyond all expression grand:—

If ever a nation might be proud of one of its children, Germany may be proud of Mozart, the composer of this opera. Never was the greatness of the human mind more perceptible, never did music reach so high a level! Melodies which an angel might have conceived are accompanied by divinest harmonies, and those whose souls are in any degree susceptible to what is truly beautiful will agree with me in saying the ear is bewitched.

At the same time he cannot refrain from the pious wish:—[See Page Image]

CRITIQUES ON DON GIOVANNI.

Oh, that he had not so wasted the energies of his mighty mind!—that his judgment had been brought to the aid of his imagination, and had shown him a less miry path to fame! How can it please him that his name should appear set in diamonds upon a golden tablet, and the tablet suspended on a pillory?

Spazier, who acknowledged Mozart's "true, unborrowed, unartificial wealth of ideas," 46 and said of "Don Giovanni" that some of its single airs were worth more than whole operas by Paesiello, 47 remarks on another occasion: 48 —

The pleasure of seeing a genius strike out a new path with ease, which one feels would possess insurmountable obstacles to others, becomes pain and grief, which can only be turned to enjoyment again by minute study of the work, when such an artist puts forth his whole strength as Mozart has in "Don Juan," where he overwhelms his hearers with the vastness of his art, giving to the whole an almost boundless effect.

His promise of a more minute description remained unfulfilled. The various notices of the work which followed its performance in other places were all of the same kind, both praise and blame recognising the fact that a novel and important phenomenon was being treated of. 49 After the performance in Weimar, Goethe wrote to Schiller (December 30, 1797) ^

Your hopes for the opera are richly fulfilled in "Don Juan"; but the work is completely isolated, and Mozart's death frustrates any prospect of his example being followed. 50

DON GIOVANNI.

The popularity of the opera with the general public spread rapidly, and very soon there was no stage in Germany where "Don Juan" had not acquired permanent possession. According to Sonnleithner's calculation, "Don Giovanni" had been performed 531 times at Vienna at the end of the year 1863; at Prague, Stiepanek asserts that 116 representations took place during the first ten years, and 360 before 1855; 51 at the celebration of the fiftieth anniversary of "Don Giovanni" at Berlin, in 1837, more than 200 performances were calculated to have taken place; 52 similar celebrations took place at Prague 53 and Magdeburg. 54 The opera was first introduced at Paris in 1805, in a fearfully distorted and mangled version, by C. Kalkbrenner; a characteristic instance was the masque terzet, where the words "Courage, vigilance, adresse, défiance, que l'active prudence préside à nos desseins" were sung by three gendarmes. Kalkbrenner also interpolated some of his own music, and, spite of it all, the fabrication pleased for a time. 55 In the year 1811 "Don Giovanni" was first given in its original form by the singers of the Italian opera, and ever since the most distinguished artists have retained Mozart's masterpiece upon this stage in an uninterrupted succession of performances. 56 A French translation of "Don Juan," by Castil-Blaze, 57 was given at Lyons in 1822, at the Odéon in Paris in 1827, and at the Académie de Musique in 1834, admirably cast and brilliantly appointed, besides being more true to the original; 58 a still newer adaptation has been performed at the Théätre Lyrique. 59 In London the great success of "Figaro" had paved the way for "Don Giovanni," which has ever since its STATISTICS OF PERFORMANCES. first performance, in April, 1817, occupied a prominent place at the Italian opera of that city. The applause which followed the first Italian representation was so great that the lessee of Covent Garden theatre produced an English version in May of the same year, which was excellently performed, and with considerable success. 60

While "Don Giovanni" was thus becoming familiar to opera-goers in the north, and even in Petersburg, Stockholm, and Copenhagen, it had not met with any very warm or general sympathy in Italy, where repeated attempts to introduce it to the public had resulted only in a certain amount of respectful recognition from connoisseurs. "Don Giovanni" was first given in Rome in 1811, no pains having been spared in the rehearsals, and few alterations made in the opera. The audience was very attentive, and applauded loudly; the music was termed "bellissima, superba, sublime, un musicone"—but not altogether "del gusto del paese"; the many stranezze might be "belissime," but they were not what people were accustomed to. 61 A more successful attempt was made in Naples in the following year, although not on so grand a scale; the audience were attentive, and seemed to accustom themselves to the musica classica, but even here the success was not lasting. 62 The first representation at Milan in 1814 provoked quite as much hissing as applause, but subsequent performances were more successful. 63 At Turin the opera appears to have pleased in 1815, in spite of its wretched performance. 64 A mangled version of "Don Giovanni" was given at Florence in 1818, and failed, but it was afterwards very well received in its true form; 65 in 1857, as a friend wrote to me, "the antiquated hyperborean music" was so emphatically hissed that it could not be risked again. In Genoa, too, in 1824, "Don Giovanni" pleased the learned, but not the public; 66 and at Venice, in 1833, it gained some DON GIOVANNI. little popularity by slow degrees. 67 Quite lately a celebrated Italian singer exclaimed angrily at a rehearsal of "Don Giovanni": "Non capisco niente a questa maledetta musica!" 68 Against all this must be placed Rossini's charming answer when he was pressed to say which of his own operas he liked best: one person present suggested one, another the other, till at last Rossini exclaimed: "Vous voulez connaître celui de mes ouvrages que j'aime le mieux; eh bien, c'est 'Don Giovanni.'" 69 The fame of "Don Giovanni" did not long remain confined to the old world. When Garcia and his daughters were giving Italian operas at New York in 1825, at Da Ponte's suggestion they produced

"Don Giovanni." 70 At the conclusion of the first finale everything went wrong; Garcia, who was playing Don Giovanni, exerted himself in vain to keep the singers and orchestra in time and tune, until at last, sword in hand, he came forward and, commanding silence, exclaimed that it was a shame so to murder a masterpiece. They began again, collected themselves and took pains, and the finale came happily to an end. 71 The applause of the public renewed Da Ponte's youth; he recounts the satisfaction with which he heard the assurance of a friend, whose custom it was to go regularly to sleep at the opera, that such an opera as that would keep him awake all night. 72 "Don Giovanni" brought him still further good fortune; he placed his unexpectedly large profits obtained therefrom in the lottery, and for the first time drew a prize. 73 "Don Giovanni," once having made its way, was soon unanimously pronounced first among all, Mozart's operas; he was said to have declared that he wrote THE LIBRETTO. it not at all for Vienna, a little for Prague, but mostly for himself and his friends. 74 It is true that the libretto was formerly considered as a bungling fabrication only tolerated for the sake of the music; nevertheless, and especially after Hoffmann's clever vindication of its poetical meaning, 75 "Don Giovanni" gradually became the accepted canon of dramatic music, and the subject of wide-reaching discussion. 76 In "Figaro" Da Ponte had opened a new field to opera buffa, by representing the actual life of bourgeois society; in "Don Giovanni" he raised opera buffa in another direction to an altogether higher sphere. 77 The legend on which the opera is founded had reached the people through the tradition of centuries, and, familiar upon every stage in Europe, it held the same place in the popular mind as the myths of Greek tragedy. The facts, in spite of their wonderful and fantastic character, offered a good groundwork to the dramatist, and the main conception and essential elements of the situations and characters being given, the fullest freedom of construction and development was permitted in the treatment of the legend. 78 Whether the legend current in Seville DON GIOVANNI. of Don Juan Tenorio, 79 who invited to supper the statue of a warrior slain by him in a duel, and who, warned in vain to repent, was doomed to everlasting perdition, is of ancient origin or not, would be difficult to determine from the contradictory accounts given of it. 80 It is said to have been performed in monasteries from an early date, adapted by an unknown writer with the title of "El Ateista Fulminado:" 81 the first authentic dramatic version of the story being that by Gabriel Tellez, contemporary of Lope de Vega, monk and prior of a monastery in Madrid. His active ecclesiastical life did not prevent his acquiring, under the name of Tirso de Molina, an honourable place in Spanish literature as a dramatic poet. 82 His "Burlador de Sevilla y Convidado de Piedra" belongs, according to Schack, both in design and workmanship to his most fugitive pieces, but contains portions which could only have been written by a poet of the first rank. 83 The plot is briefly as follows:—

First Day [The scene is laid in Naples].—The Duchess Isabella is having a parting interview with her lover, Duke Ottavio, when she discovers that Don Juan has stolen into her apartment in Ottavio's stead. Her cries for assistance bring the King, who gives Don Juan into the custody of his uncle, Don Pedro Tenorio, the Spanish TIRSO DE MOLINA'S "CONVIDADO DE PIEDRA." Ambassador; the latter, discovering his relationship with his prisoner, allows him to escape, and denounces Don Ottavio to the King as Isabella's seducer. Don Pedro is thereupon commanded to arrest Don Ottavio, to whom, however, he declares that a man having been found with Isabella, she reported him to be Ottavio; the lover believes himself to be deceived and betrayed, and Don Pedro connives at his escape. [Coast scene in Tarragona.] Catalinon, Don Juan's servant, bears his shipwrecked master lifeless to shore, where they are discovered by Tisbea, a fisher-girl; Don Juan awakes to consciousness upon her bosom, and they fall violently in love with each other. 84 Their love-making is interrupted by a scene in which the Commandant, Don Gonzalo de Ulloa gives Don Albeso, King of Castile, an account of his diplomatic mission to Portugal. Then the story returns to Tisbea, who is deceived and deserted by Don Juan, and left to her passion of despair.

Second Day [The scene is in Seville].—Don Diego Tenorio, Don Juan's old father, acquaints the King with the crime which his son has committed in Naples against Isabella and Ottavio; the King banishes Don Juan from Seville until he shall make reparation by marrying Isabella. Ottavio enters and puts himself under the protection of the King, who promises to demonstrate his innocence in Naples, and to give him the hand of Donna Anna, Ulloa's daughter, and Don Juan's fiancée. Don Juan appears, greets Ottavio in friendly fashion, and enters into a long conversation with the Marquis de la Mota, wherein they discuss the beauties of the day like the regular roués they are; finally the Marquis declares his love for Donna Anna. He has no sooner departed than a note is brought to Don Juan to be conveyed to the Marquis; he opens it, and finding that in it Donna Anna appoints an interview, determines to keep the appointment himself; and he acquaints De la Mota, who returns, with the invitation, but names a later hour. He is as indifferent to his father's sentence of banishment as to his repeated exhortations, and upon the arrival of the Marquis to serenade Donna Anna, he borrows his mantle, ostensibly to enable him to visit one of his many sweethearts, but really that he may gain access to Donna Anna herself. Discovering the deceit, she cries for help; her father stops Don Juan's way with drawn sword, and falls by his hand. The murderer flies; De la Mota enters for the rendezvous; the King, hurrying in with his guards, takes him for the murderer, and delivers him to judgment, commanding a magnificent funeral for the Commandant, and the erection of a monument in his honour. [Country scene.] Patricio is celebrating his wedding with Aminta, when Don Juan, journeying through, mingles with the guests, and placing himself close to the bride, excites the jealousy of the bridegroom.

Third Day.—Don Juan prevails upon the jealous Patricio to renounce DON GIOVANNI. Aminta by falsely representing that she was formerly seduced by him, and had summoned him to interrupt the wedding; he gains the consent of her father by means of a solemn promise of marriage, and after a long resistance, Aminta gives way. [The Sea-coast.] Isabella, arriving at the King's summons for her espousals with Don Juan, falls in with Tisbea, who complains of Don Juan's treachery, and repairs with Isabella to Seville to seek justice from the King. [Seville.] Don Juan, informed by Catalinon of how his victims are united to revenge themselves on him, sees the statue erected to the Commandant, with an inscription calling for vengeance on his murderer. This rouses his haughty insolence; he plucks the statue by the beard, and invites it to supper, that it may execute his vengeance. While Don Juan is entertaining his followers at table, the statue appears, to the consternation of all but Don Juan, and remains silent until the meal is over. Left alone with Don Juan, the Commandant invites him to supper in the chapel, and he accepts the invitation, after repressing an involuntary shudder. [The Palace.] The King promises Don Diego that he will create Don Juan Count of Lebrija, and bestow Isabella upon him, at the same time pardoning the Marquis at Donna Anna's request, and uniting the two in marriage. Don Ottavio requests the King's permission to fight a duel with Don Juan, his father proposing to judge between the two; the King commands a reconciliation. As he goes out, Aminta enters with her father, to acquaint the King with her claims on Don Juan's hand, and Ottavio promises her his support. [The Street.] Don Juan, pardoned by the King, and on the point of wedding Isabella, prepares to keep his appointment with the Commandant, and enters the church where Ulloa has spread a meal for him and Catalinon. The dishes contain scorpions and snakes, the wine is gall and verjuice, and the table music is a penitential psalm. After the meal, the Commandant grasps Don Juan's hand with a grip which cannot be shaken off; 85 "Thou art summoned to the eternal judgment-seat" exclaims the Commandant; "thy reward shall be fitted to thy deserts." Don Juan falls down lifeless and sinks below with the statue. [The Palace.] The King wishing to see the nuptials celebrated, Isabella, Aminta, and Tisbea come forward to make good their claims to Don Juan's hand, and the Marquis reveals the treachery practised on him by Don Juan. The King is in the act of promising justice, when Catalinon enters and makes known Don Juan's dreadful end. Thereupon Ottavio and Isabella, De la Mota and Donna Anna, Patricio and Aminta, are severally united, and "the story of the Marble Guest comes to an end."

TIRSO DE MOLINA'S "CONVIDADO DE PIEDRA."

The drama, necessarily, in this rapid sketch, stripped of all the elegance and brilliancy of its poetical rendering, bears to an extraordinary degree the stamp of the time and nation to which it belongs. The freedom and unreserve with which the various love intrigues are treated and described are certainly peculiar to the age, and the story is distinguished by a dash of chivalric bravery all its own; the audience, while recognising a faithful representation of their own state of morals, were little inclined to take umbrage at the summary punishment of the sinner before them. 86 This point is, indeed, emphasised by various observations made in a truly catholic spirit; for instance, when Don Juan says to his stony guest, after having mockingly invited him to sup: "What will'st thou, vision, ghost? Dost thou suffer still the pains of purgatory? Dost thou demand satisfaction? What is thy will? I pledge my word to do as thou com-mandest. Why hast thou left God's throne? Do thy sins cause thee still to wander?" The effect is greatly heightened again by the reply of the statue when Don Juan is about to light him out: "Let be; God lights my path." And when Don Juan sees that all is over, he begs for a confessor, and the statue answers, "Too late, too late is thy contrition!" and Don Juan falls dead. The intricate plot is very unequally treated, and so indeed are also the characters. Among the female characters, Tisbea as a type of passion, and Aminta as a type of naïve simplicity, are both attractive and original; and among the men Don Juan, boldly and freely sketched, and his servant Catalinon, the inevitable "Gracioso" of the Spanish drama, are most remarkable. Catalinon in particular is treated with moderation and delicacy; neither his cowardice, his moralising, nor his wit is brought too prominently forward, and he always appears as the shadow of his master. Even in the spectre scenes he fails to rise to any grandeur of character. The influence of Spain upon the Italian drama 87 necessarily DON GIOVANNI. brought Tirso's "Don Juan" to Italy. According to Ricco-boni, it first appeared upon an Italian stage soon after 1620. 88 The first printed translation known is that by Onofrio Giliberti, entitled "ü Convitato di Pietra," performed in 1652 at Naples; others followed with the same title by Giacinto Andrea Cicognini (1670) and Andrea Perucci (1678); 89 the subject was familiar on the Italian stage, and unfailingly popular. 90

The Italian dramatic company, who were naturalised in Paris at the theatre of the Hötel de Bourgogne, were accustomed to appoint one of their number to arrange the plan of the pieces which they performed, but the actual performance was improvised. In this fashion they played an improvised version of Giliberti's "Convitato di Pietra," which had an extraordinary run. 91 The chief situations of the Spanish drama, much simplified and coarsened, are compressed into five acts, and Arlecchino, who appears here as Don Juan's servant, is brought into the foreground and made the mouthpiece of a great deal of very questionable badinage:—

The first act represents Isabella's seduction in Naples. Don Pedro, her father and Don Juan's uncle, agrees with her to denounce Ottavio, her lover, as her seducer, which causes the latter to take flight. 92 In the second act Don Juan and Arlecchino swim to shore [a very favourite scene, richly garnished with jokes], and Don Juan's love passages with the lovely fisher-maiden Rosalba take place. On her claiming his promise of marriage, he mockingly refers her to Arlecchino, who unrolls the long list of his master's mistresses. It was customary to allow the end of the roll to fall, as if by chance, into the pit, and the audience delighted themselves by looking for the names of their friends or connections in the list. Rosalba, in despair, casts herself into the sea. 93

THE ITALIAN "CONVITATO DI PIETRA."

The third act shows Ottavio in great favour at the court of Castile, on the point of marriage with Donna Anna. He is attended by Pantaloon, who carries on the usual by-play with Arlecchino. Don Juan intercepts the letter in which Donna Anna summons Ottavio, steals in to her, Arlecchino keeping watch outside, and slays the Commandant, her father, who surprises them. In the fourth act Donna Anna demands justice from the King; a reward of 6,000 thalers is placed upon the head of the murderer, and Arlecchino is greatly tempted to gain it, which gives rise to much jesting between him and Pantaloon. In the fifth act Don Juan is discovered before the statue of the Commandant, which he mocks. Arlecchino is made to invite it to supper, whereupon it nods, and, upon Don Juan's repetition of the invitation, answers him in words. Don Juan's supper gives opportunity for much comic display of greediness and cunning on the part of Arlecchino, continuing even after the appearance of the Commandant, who invites Don Juan and departs. The King, made acquainted with Don Juan's crimes, commands him to be seized and brought to justice. Before escaping he keeps his appointment with the Commandant in the church, and is dragged below by the spectre. The closing tableau shows Don Juan burning in hell, and expressing his torment and his remorse:—

To which the demons answer: "Mai!" 94

This extravaganza was extraordinarily successful. In 1673 a second version, with additions and new scenery ("Aggiunta al Convitato di Pietra"), was announced. 95 The new Italian company of the Duke of Orleans replaced the improvised "Convitato di Pietra" upon the stage in 1717, and it was revived in 1743. 96 This gave rise to a dispute with the French actors, who were not willing to renounce their claim to so taking a piece. 97 Dorimon first produced a translation of Giliberti's piece with the title of "Le Festin de Pierre, 98 ou le Fils Criminel," at Lyons in 1658, when DON GIOVANNI. Louis XIV. met the Princess of Savoy there, and it was performed again at the Théätre de la Rue des Quatre Vents, in Paris, during 1661. But De Villiers had been beforehand with him here, having produced his tragi-comédie with the same title and almost verbal identity in 1659 at the theatre of the Hötel de Bourgogne. 99 Don Juan's afflicted father, exposed to the insolence of his son and the mockery of the servant, appears quite at the beginning of the piece. Afterwards Don Juan changes clothes with his servant Philippin in order to elude justice, robs a monk of his cowl, and in this disguise slays Don Philippo (Ottavio), the lover of Amarillis (Donna Anna). After the Commandant has supped with him and invited him, Don Juan again seduces a newly married woman, and then repairs to the chapel, where he is struck by lightning as he sits at table.

Molière did not neglect so promising a subject for the use of his company, and his "Don Juan, ou le Festin de Pierre" was first performed at the Palais-Royal on February 15, 1665. In contrast with the buffoonery of the Italians he has tried to raise the subject into the sphere of genuine comedy, and has thereby obliterated the last trace of the national-historical character of the drama in its Spanish form. Both sensual passion and chivalric boldness have disappeared. Molière's "Don Juan" is a cold-blooded egotist in his love and his want of faith, an enlightened rationalist, even when preserving his honour as a cavalier with personal bravery; his servant Sganarelle reasons as morally as his master immorally, but is quite as great an egotist, and a coward into the bargain. The striking situations, in which the original was so rich, are either merely related, as in the case of the seduction of Donna Anna and the murder of the Commenda-tore, or they have lost all their lively colouring by a new turn, as in the case of the adventures with the fisher-girl and the peasant; everything that might shock or injure the MOLIÈRE'S "FESTIN DE PIERRE." refined tone of comedy was omitted. On the other hand, the interests of morality required that every opportunity for repentance and amendment should be given to Don Juan; the more he is preached at from every quarter, the more obstinate he becomes in his evil courses. The truthfulness of psychological development thus striven after makes the catastrophe all the more glaringly absurd; such a sinner as this could not be carried off by a ghost. As a compromise, Molière makes Don Juan to be warned by a spirit in the form of a woman, who is transformed into an appearance of Time with his scythe; this was an allegory quite after the taste of the time, and rendered the marble guest a superfluity. Some of the situations, such as the adventure in the country, or the scene with the merchant, are excellently rendered, and delicate traits of characterisation are always to be found; in fact, the better a point is, the less it is found to have to do with the original "Don Juan." Molière's "Don Juan" was not printed during his life, and was only played fifteen times. A versified adaptation of it by Thomas Corneille, given in 1677, was well received, and kept the stage until 1847, when Molière's comedy was again substituted. 100

Incited by Molière's example, Goldoni produced the "mauvaise pièce espagnole," which he could not contemplate without horror, at Venice in 1736, in the worthier form of a regular comedy entitled "Don Giovanni Tenorio, ossia il Dissoluto":—

In the first act, Donna Anna obeys her father against her will, and is betrothed to Don Ottavio. The second act shows Elisa, a peasant girl, taking leave of her lover Carino. Immediately after Don Juan appears, plundered by robbers, and gains her favour. Carino surprises them bidding farewell, but Elisa appeases his jealousy. Isabella, who has been deserted by Don Juan in Naples, follows him disguised as a man. In the third act she enters Seville with Ottavio, whom she has delivered from the hands of robbers on the way hither. When Donna Anna discovers her sex, she makes it the excuse for renouncing Ottavio's hand. Isabella, meeting Don Juan, forces him to fight with her; but, refusing from shame to give the standers-by any account of herself, she is pronounced by Don Juan to be a maniac. Elisa also DON GIOVANNI. pursues Don Juan, but he is warned against her by Carino, to whom she has been faithless. Don Juan declares himself ready to give her up, but Carino will have none of her. In the fourth act, Don Juan makes declaration of love to Donna Anna, who is not unfavourably disposed towards him, but refers him to her father for consent. He seeks, however, with drawn sword to gain her favour on the spot; she calls for help; her father hastens in, and is slain by Don Juan, who then escapes. It is resolved to pursue him and to seek redress against him from the King. In the fifth act Elisa promises to liberate him, having relatives among the guards, if he will marry her. Isabella interposes and renews her challenge to him to fight. Donna Anna, in mourning robes, calls for vengeance, but Don Juan displays so much passion for her that she relents and pardons him. Thereupon comes a letter from the King of Naples, demanding Don Juan's punishment, and disclosing Isabella's secret. Don Juan, seeing himself hopelessly lost, beseeches Carino to slay him. A thunderbolt from the mausoleum of the murdered Commendatore strikes him dead.

Goldoni asserts 101 that the public were astonished at first, and did not know "Ce que voulait dire cet air de noblesse que l'auteur avait donné à une ancienne bouffonnerie." But it soon became known that the coquettish Elisa was an actual portrait of the actress, Elizabeth Passalacqua, who played the part, and that Goldoni had chosen this way of being revenged on her for bestowing her favours simultaneously on him and on the actor Vitalba. This roused interest in the piece, and convinced people "que le comique raisonné était préférable au comique trivial." Rosimond looked at the subject from quite another point of view in his tragi-comédie "Le Festin de Pierre, ou l'Athéiste Foudroyé," produced in 1669 at the Théätre du Marais. This theatre was then noted for its brilliant decoration and spectacle pieces, which often necessitated high prices of admission. Such a piece was this of Rosimond's, and he had been careful to lay the plot in heathen times, that his atheism might vaunt itself with impunity. 102 Again, in 1746, "Le Grand Festin de Pierre" was given in Paris as a pantomime, 103 and has always been popular on village and marionette stages.

DON JUAN IN ENGLAND AND GERMANY.

In England also "Don Juan" was put on the stage at about the same time. Whether in his "Libertine Destroyed," which was produced in 1676, Thomas Shadwell followed the Spanish original or the French or Italian version, I cannot pretend to determine. The piece was very successful, but Don Juan's villainy was so dreadful, and the piece altogether so horrible, "as to render it little less than impiety to represent it on the stage." 104 In 1725 Antonio de Zamora, Chamberlain to King Philip V. of Spain, adapted the same subject under the title, "Non hay deuda que no se pague y convi-dado de piedra." "This adaptation, displaying much talent and skill, is cast almost in the same form as the opera; the earlier adventures of Don Juan in Naples are omitted, and Zamora, like the author of the libretto, begins with the murder of the Commandant." 105 In Germany, "Don Juan, oder das Steinerne Gastmahl," belonged to the standing repertory of the improvising actor from the beginning of the eighteenth century. Prehauser, the celebrated buffoon of the Vienna Theatre, made his first dramatic attempt in 1716 as Don Philippo in the "Steinerne Gastmahl." 106 Schroder appeared in Hamburg, in 1766, as Sganarell in "Don Juan," and "surpassed all expectation." 107 This may have been a version of Molière's "Don Juan," but as early as 1746 an afterpiece entitled "Don Juan" was on the repertory of Ackermann's Company, 108 and in 1769 the pantomime ballet of "Don Juan" was given by them. 109 At Vienna, up to 1772, an improvised "Steinerne Gastmahl" was regularly given during the octave of All Souls; 110 a proof that Don Juan's dissolute life was contemplated with pleasure, and that morality was considered as abundantly vindicated by his being carried off by the devil after a long penitential DON GIOVANNI. speech. 111 The traditions of this burlesque degenerate into a mere puppet-show. "Hanswurst" becomes the chief personage, and Don Juan's love adventures are made subservient to his deeds of blood; both the names and situations point to the French version of the Italian piece as the principal source, but many additions have been made, and these, for the most part, not happy ones. 112

It was in Paris that the first attempt was made to treat "Don Juan" operatically. In the year 1713, Le Tellier produced "au jeu d'Octave," a comic opera "Le Festin de Pierre," in three acts, and "en vaudevilles sans prose" at the Théätre de la Foire Saint-Germain. 113 It was well received, but exception being taken to the representation of hell at the conclusion of the opera, it was suppressed; but a few days after, we are told, "Le magistrat, mieux informé, révoqua cette sentence." 114 The piece followed the old lines, only a few new jokes were introduced; and the language of the couplets, judging by the specimens which are given, must have been tolerably free.

A ballet of "Don Juan," with music by Gluck, was performed in Vienna in 1761. 115 The programme indicates four divisions, each of them containing an important situation, worked out and enlivened by means of different dances.

GLUCK'S BALLET, "DON JUAN."

Unfortunately we have no hints as to the details of the music, which consists for the most part of short and unelaborated dance melodies:—

In the first division, Don Juan serenades his mistress, Donna Anna, and is admitted by her; surprised by her uncle, he escapes into the street, and slays his pursuer. In the second division, Don Juan is giving a feast, at which Donna Anna is present, and dances, a pas de deux with him; the appearance of the statue scares away the guests. After a short stay, the Commendatore invites Don Juan, who accepts, and conducts him to the door. In the meantime the guests reassemble, but seized with fresh terror, rush from the house; Don Juan prepares to seek the Commendatore alone, his servant, spite of threats and persuasions, refusing to accompany him. The third part takes place in the mausoleum; the Commendatore tries vainly to bring Don Juan to repentance, and finally plunges him into the abyss. In the last division, Don Juan is tormented by demons in the lower world; he strives in vain to escape or to resist, and at last, in despair, he resigns himself and is devoured by the flames. 117

Ten years before Mozart's "Don Giovanni," a dramma tragicomico, entitled "ü Convitato di Pietra, ossia il Dissoluto," was performed both at Vienna (first on August 21,1777) and at Prague; the composer was Vine. Righini. 118 The plot is briefly as follows: 119 —

The fisher maiden Elisa, and her lover Ombrino, save Don Giovanni and his servant Arlechino from the waves. Don Giovanni, who has betrayed Isabella, daughter of the Duca d'Altamonte, in Naples, and is a fugitive in consequence, readily wins the love of the too-confiding Elisa. The Commendatore di Loioa, returning from victorious war, is greeted by Don Alfonso in the name of the King of Castile, who has erected a statue to his honour, and promises to wed his daughter Donna Anna to the Duca Ottavio. Donna Anna, in defiance of her father's threats, refuses the honour. Don Giovanni, whose crime and flight have been made known to Don Alfonso, enters with Arlechino the house of the Commendatore, where Donna Anna, having dismissed her maid Lisette, is preparing to retire to rest. He offers her violence, which she resists, and recognises him; thereupon enters the Commendatore and falls in DON GIOVANNI. combat with Don Giovanni. Donna Anna vows vengeance on the murderer. In the second act Don Giovanni determines to flee, and orders Arlechino to be ready in the tavern, and to order a meal. Isabella, who has pursued Don Giovanni, extorts from Don Alfonso a promise of reparation. Don Giovanni, seized with remorse, takes refuge in the mausoleum, and falls asleep near the statue of the Commendatore. There he is found by the sorrowing Anna, whose love and pity he seeks in vain to kindle. Arlechino summons him to the tavern, where all is prepared; he invites the statue to be his guest, and is sorely perplexed by the answer given. Arlechino in the tavern makes love to the hostess Corallina. Donna Anna receives from Don Alfonso the assurance of the speedy pursuit and punishment of Don Giovanni. The latter sups with Arlechino, waited upon by Corallina and Tiburzio; he toasts the approving audience, Arlechino and the pretty maids, in German verse! The statue appears, but does not eat, invites Don Giovanni and disappears; the meal is continued with the utmost composure. In the third act, Don Giovanni is the guest of the Commendatore in the mausoleum; he refuses to repent, and is cast into the abyss. Don Alfonso and Donna Anna are acquainted by Arlechino of this consummation. Don Giovanni is seen tormented by demons.

The libretto differs neither in design nor execution from that of an ordinary opera buffa.

In 1787 "Il Convitato di Pietra," by Gius. Gazzaniga, was given in Venice at the Teatro di S. Mosè, and was received with much applause. The opera was given in Ferrara, Bergamo, 120 and Rome, "every evening for a month, till no one was satisfied who had not seen Don Juan roasting in hell, and the late lamented Commandant rising to heaven as a disembodied spirit"; 121 it was played in Milan, 1789; in Paris, 1791, where, however, in spite of the brilliant concluding scene, it was only moderately successful, 122 and in London (notwithstanding Da Ponte's contradiction) in 1794. 123 The libretto is lost, but fragments of a score which Sonnleithner discovered in Vienna 124 show that Da Ponte GAZZANIGA's "CONVITATO DI PIETRA." must have made liberal use of this libretto, 125 if, indeed, the two have not a common source:—.

Pasquariello is reluctantly keeping watch before the house of the Commandant, when Don Giovanni rushes out, and strives to free himself from Donna Anna, who snatches the mask from his face and calls her father to help; he appears and falls in combat, a terzet for the men closing the introduction [there is no overture]. After some little talk, Don Giovanni flies with Pasquariello. Donna Anna hastens in with her betrothed Duca Ottavio, and finds to her horror the corpse of her father [accompanied recitative]; more composedly she acquaints him with Don Giovanni's villany, and declares her intention of retiring to a nunnery until Ottavio shall have discovered and punished the murderer [air], 126 to which he consents sorrowfully [air]. Don Giovanni, waiting for Donna Eximena in a casino, converses with Pasquariello, when Donna Elvira enters in travelling guise; she has been deceived and deserted by Don Giovanni in Burgos, and has followed him hither [air]. They recognise each other, Don Giovanni refers her to Pasquariello for the motives of his departure, and goes out. Pasquariello gives her the list of his master's mistresses [air]; she vows to gain justice or be avenged. Don Giovanni enters in loving converse with Eximena, and satisfies her jealous doubts of his fidelity [air]. A peasant couple, Biagio and Maturina, are celebrating their wedding [chorus and tarantella]. Pasquariello pays court to the bride, but on the entrance of Don Giovanni retires; and Don Giovanni treats the bridegroom so rudely that he finally goes off in dudgeon [air]. Don Giovanni befools Maturina by flattery and a promise of marriage. Two scenes are wanting here (14 and 15). Biagio enters in jealous mood, but is appeased by Maturina [scena and rondo]. Eximena questions Pasquariello concerning his master, and rejoices to learn that he is constant to her [air]. Don Giovanni is besieged with questions by Donna Elvira, Eximena, and Maturina all at once, and satisfies each in turn by assuring her that love for him has turned the brains of the other two. 127 Duca Ottavio is discovered in the mausoleum adding the inscription to the statue which the Commandant had erected to himself in his lifetime. Don Giovanni enters with Pasquariello to view the monument, and obliges the latter to invite the statue [duet]. The cook Lanterna attends Don Giovanni; Elvira comes and meets him returning with Pasquariello; she exhorts him earnestly to repent, but he scornfully refuses, whereupon she leaves him DON GIOVANNI. and retires to a nunnery. Don Giovanni proceeds to sup merrily [concertino]; Pasquariello eats with him, and Lanterna wait upon them; they toast the town of Venice and its lovely women. 128 A knock is heard, and, to the horror of the two servants, the Commandant appears. Don Giovanni bids him welcome, and orders Pasquariello to serve him; he accepts the Commandant's invitation, giving him his hand on it, but rejects his exhortation to repentance, and is delivered over to the demons. 129

A "Convitato di Pietra," by Tritto, is known to me only through Fétis, who places it in the year 1783. 130

A wealth of material, which made the task of selection difficult, left Da Ponte no necessity to task his invention for his libretto. 131 We have no means of ascertaining how deep or how extensive were his previous studies, 132 but even compared with Gazzaniga's libretto, which he closely followed for the greater part of the first act and the second finale, we cannot fail to recognise his superiority in the arrangement of the plot, in the delineation of character, and in the grouping of situations for musical treatment, especially in the ensembles. His discrimination in the selection of material was also very just. He saw clearly that if the spectral apparition was to have its due effect it must be set in vivid contrast with the representation of actual life, with all its impulses of passion, of love, hate, or despair, of humour and merriment. He cannot be said to have cast the magic of true poetry over his work, nor has it the knightly tone of the Spanish original, but he has endowed DA PONTE'S LIBRETTO. his characters with the easy pleasure-loving spirit of the time; and the sensual frivolity of life at Venice or Vienna is mirrored in every page of his "Don Giovanni." The language displays a versatility almost amounting to gracefulness; and, remembering to what a low level of vulgarity the treatment of the subject had been brought, we shall be the more ready to recognise the effort to raise the dialogue to a more sensible and refined standard. Da Ponte was right in placing the main points on which the action turns upon the stage, and in furnishing the composer with a number of musically effective situations, in which the elements of tragedy and comedy, of horror and merriment, meet and mingle together. This curious intermixture of ground-tones, which seldom allows; expression to any one pure and unalloyed mood, is the special characteristic of the opera. Mozart grasped the unity of these contrasts lying deep in human nature, and expressed them so harmoniously as to open a new province to his art, for the development of which its mightiest forces were henceforward to be concentrated. Great as has been the progress of music in the expression of this inner life of man since Mozart's time, he has not yet been surpassed in his power of creating living forms instinct with artistic beauty, and endowed with perfect dramatic truth. When Goethe declared that Mozart would have been the man to compose his "Faust," 133 he was thinking of "Don Giovanni"; but it could scarcely have been the merely external manipulation of the plot, however skilful, which directed his opinion. With the instinctive certainty of genius he felt the universality of Mozart's conception and representation of humanity, and acknowledged him as his equal on what was, in his judgment, a far more extensive field than this.

The commencement of the opera 134 sets us at once in the midst of the action: the passionate intensity of the first DON GIOVANNI. scene, the villainy which is practised before our eyes, prepare us for the deep shadow which is to fall on the picture of reckless pleasure-seeking, and for its horrifying conclusion; nor is the humorous element altogether absent:—

Leporello is discovered keeping impatient watch for his master, who soon appears, pursued by Donna Anna, and vainly striving to break loose from her. Her cries for help bring the Commendatore, her father, who challenges the insolent intruder to fight, and falls by Don Giovanni's sword, to the consternation of the latter and of Leporello. Neither scorn nor mockery are expressed in the words, "Ah! gia cade il sciagurato," and the music is as far from such sentiments as the words. Da Ponte has sagaciously shown traits of natural human sentiment in Don Giovanni, and Mozart has not let these escape him. But he has no time to waste in regrets; he takes to flight, and immediately after Donna Anna returns with her affianced lover, Don Ottavio; she swoons at sight of the corpse, and as soon as she returns to herself makes Don Ottavio swear vengeance on the murderer.

Don Giovanni, deaf to Leporello's reproaches, is confiding to him that he is in pursuit of a new adventure, 135 when a lady enters. This is Donna Elvira, whom he has deceived and deserted in Burgos, and who has followed him to claim his promise of marriage; he approaches her, and is consternated on seeing who she is. She overwhelms him with reproaches, and he refers her to Leporello for explanations and excuses, taking the opportunity of slipping away himself; Leporello, for her consolation, displays a list of his master's love intrigues, which he carries about with him. Enraged at this fresh insult, she resolves to sacrifice her love for her unfaithful lover to her thirst for vengeance.

Masetto and Zerlina, with their village friends, are celebrating their wedding in the neighbourhood of Don Giovanni's casino, whither he has repaired by preconcerted arrangement. Zerlina's fresh loveliness attracts him; and, making acquaintance with the bridal party, he invites them all into his casino, but soon drives out Masetto, whose jealousy he has excited; and is on the point of winning Zerlina by his flattery and declarations of love when Elvira steps between them, warns Zerlina, and (spite of Don Giovanni's whispered protestation that she is a poor maniac in love with him and mad with jealousy) carries off the peasant maiden. 136 To Don Giovanni, thus left alone, enter Donna Anna and Ottavio, who greet him as a friend of the family, and claim his DA PONTE'S LIBRETTO. assistance in discovering the murderer and bringing him to justice; while he is conversing with Donna Anna, Elvira again interposes and warns her that he is a hypocrite. He again secretly represents her as a maniac who must be humoured, 137 and goes out with her. Donna Anna's suspicions are aroused, and observing Don Giovanni closely, she recognises her father's murderer in him, acquaints Don Ottavio with the circumstances, and urges him to avenge her father's death. Unwilling to give easy credence to such a grave accusation, he decides to examine thoroughly into the affair, and to clear up the doubts as to Don Giovanni. The latter, disembarrassed of Donna Elvira, commands a banquet to be prepared in honour of the bridal party. Masetto, whom Zerlina has with difficulty appeased by her coaxing endearments, conceals himself when he sees Don Giovanni approaching; after some demure behaviour on Zerlina's part, Masetto comes forward, and Don Giovanni, with quick presence of mind, persuades them both to accompany him into the house for the banquet. Donna Anna and Don Ottavio enter with Elvira, who has explained everything to them, and at her instigation they all put on masks, in order to observe Don Giovanni without being recognised; Leporello, perceiving them, conveys the expected invitation to enter, which they accept. It was at that time customary in Venice to go about masked, and strangers thus disguised were invited to enter where any festivities were going on, thus heightening the frolic of the masquerade. As they enter the hall, there is a pause in the dance; the guests take refreshment, Don Giovanni devotes himself to Zerlina, and Masetto, his jealousy again aroused, seeks to warn her; then the masked strangers become the centre of observation, are politely greeted, and the dance begins again. Donna Anna and Don Ottavio tread a minuet, the dance of the aristocracy; 138 Donna Anna with difficulty restrains her conflicting emotions, which vent themselves in occasional interjections, while Don Ottavio exhorts her to remain calm. Elvira follows every movement of Don Giovanni; the latter invites Zerlina to dance, and Leporello forces Masetto to dance with him in order to distract his attention from Zerlina. At the right moment Don Giovanni carries off Zerlina. Leporello hurries after to warn him; her cries for help are heard, and all rush to her rescue. Don Giovanni meets them, dragging in Leporello, whom he gives out to be the culprit, and threatens with death; but he is surrounded on all sides, the masks are thrown off, and he finds himself in the midst of his victims, DON GIOVANNI. intent on revenge. For one moment his presence of mind forsakes him and he is at a loss how to extricate himself, but his courage speedily returns, and he boldly and irresistibly makes his way through his enemies.

This momentary dismay and confusion is psychologically correct, and brings an important feature into the situation, which Mozart has effectively seized in his musical characterisation of it. Don Giovanni and Leporello, with the storm of voices surging round them, sing sotto voce; and highly characteristic is the submission to Leporello's opinion to which Don Giovanni here condescends. Only with the words "Ma non manca in me corraggio" does he gather his senses together, and strike at once a different key, in which Leporello cannot follow him. 139

The first act must be allowed to have a well-constructed and interesting plot, but the second consists of situations without cohesion or connection, although capable of being made musically very effective. It wants a leading motive to hold the parts together, the incessant pursuit of Don Giovanni not by any means answering the purpose; the comic tone also degenerates into coarseness:—

Don Giovanni, having appeased the incensed Leporello with money and fair words, confides to him that he is courting Elvira's pretty wait-ing-maid, and changes clothes with him in order to gain easier access to her. This is scarcely accomplished when Elvira appears at the window. In order to get out of the affair with a good grace, Don Giovanni renews his addresses to her with pretended passion, and she is weak enough to give ear to him. Leporello, in his disguise, accepts and answers her protestations of love, until Don Giovanni, making a noisy entrance, drives them both away; then with a tender song he strives to entice the waiting-maid to appear. Masetto then enters armed, with several friends, to call Don Giovanni to account; the supposed Leporello undertakes to put them on the right track, but cleverly contrives to disperse and dismiss them, wheedles Masetto out of his weapons, beats him soundly, and escapes. Masetto's cries bring Zerlina to the spot, and she seeks to console him with loving caresses.

In the meantime Leporello and Elvira have taken refuge in an antechamber; Leporello tries to slip away, while Elvira beseeches him not to leave her alone in the dark. He is on the point of escaping when DA PONTE'S LIBRETTO. Don Ottavio enters with Donna Anna, endeavouring to calm her sorrow; Elvira and Leporello each try to escape unobserved, but Zerlina and Masetto intercept them. The supposed Don Giovanni is taken to account on the spot; in vain does Elvira petition for him, to the general astonishment; at last Leporello discovers himself, and after many excuses and explanations makes good his escape. Don Ottavio, now no longer doubting that Don Giovanni is the murderer of the Com-mendatore, announces his intention of proceeding against him in a court of justice, and begs his friends to console his betrothed until he shall have accomplished his design.

Don Giovanni awaits Leporello's arrival at the foot of the monument erected to the Commendatore, and laughingly relates his latest adventure; an invisible voice twice utters words of warning. He becomes aware of the presence of the statue, and makes Leporello read the inscription on it: "I here await the chastisement of my ruthless murderer." In arrogant contempt of Leporello's horror he forces the latter to invite the statue to supper; the statue nodding its head. Don Giovanni calls upon it to answer, and on its distinctly uttering the word "Yes" he hastens away in consternation.

Don Ottavio strives anew to console Donna Anna, and at last begs for her hand in marriage: she explains that, though her heart consents to his prayer, her mourning for her father compels her to postpone its fulfilment. This scene gives rise to a suspicion of having been inserted in Prague after the completion of the opera, in order to give the singer a final air. The situation is repeated at the close of the finale, and is not here in accordance with Don Ottavio's previous appearances. Don Giovanni, seated at his richly appointed table, eats and jokes with the greedy Leporello. This scene, which was always made the occasion for broad jesting between master and servant, has been turned by Mozart into musical fun and by-play. Don Giovanni's private musicians play favourite airs from the newest operas. At the first bar Leporello cries "Bravi! 'Cosa Rara!'" It is the last movement of the first finale from Martin's "Cosa Rara": "O quanto un si bel giubilo," which was then in every one's mouth; and the parody was a very happy one. Just as in Martin's opera the discontented lovers are contrasted with the more favoured ones, on whom their mistresses have been bestowed before their eyes, so here the hungry Leporello contrasts with the gormandising Don Giovanni, and the music might have been made for them. The second piece is greeted by Leporello with "Evvivano! 'I Litiganti!'" It is Mingone's favourite air from Sarti's opera, "Fra Due Litiganti il Terzo gode" (Act I., 8), the same on which Mozart had written variations (Vol. II., p. 345), the then familiar words of which—

DON GIOVANNI.

were comically appropriate to the snuffling Leporello. 140 The apparent malice which induced Mozart to parody favourite pieces from operas which were avowedly rivals of his own (the impression being immensely heightened by the humorous instrumentation caricaturing arrangements for harmony music), is rendered in some degree excusable by his having included himself in the joke. When the musicians strike up "Non più andrai," Leporello exclaims: "Questa poi la conosco pur troppo!" Thus Mozart expressed his gratitude to the people of Prague for their enthusiastic reception of "Figaro." 141

To this merry pair enters Elvira. She has overcome her love, and intends entering a cloister, but wishes to make one more effort to bring Don Giovanni to repentance; but her representation being met only with easy contempt, she angrily leaves him. She is heard to utter a shriek without. Leporello hastens after her, and returns in horror: the statue of the Commendatore is at the door; it knocks, and Don Giovanni has to go himself to open it, and to conduct his marble guest to a seat. The statue rejects all hospitality, and asks Don Giovanni if he is prepared to return the visit; on his answering in the affirmative, he grasps him by the hand, and calls upon him to repent. Don Giovanni repeatedly and defiantly refuses, and the statue leaves him; night comes on, flames burst from the earth, invisible spirit voices are heard, demons surround Don Giovanni, who sinks into the abyss. Don Ottavio and Donna Anna, Elvira, Masetto and Zerlina enter to drag the offender to justice, but find that human revenge has been anticipated; Leporello, who has witnessed the dreadful scene with every sign of horror, relates his master's fearful end. Relieved from anxiety, and restored to their natural relations, they unite in the words of the "old song"—

No doubt the serious moral appended to the gay and easygoing tone of the opera was a reminiscence of the custom of considering the piece, on account of its ready practical application, as a sort of religious drama; the music takes the same tone towards the end. We can scarcely conceive that it was with a view to the moral effect alone that Da Ponte so contrived the plot that Don Giovanni should fail in each GERMAN ADAPTATIONS. of the love adventures in which he engages; there can be no question that the cheerful tone which runs through the whole opera depends chiefly on the repulses with which the hero is continually met on the field of his heroic deeds. It is true that some of the passionate force which distinguishes the Spanish drama is thereby sacrificed, but, on the other hand, the murders and low crimes which were heaped up in the German burlesques of "Don Giovanni" also disappeared, and the concentration of the action dispensed with a number of ill-connected and licentious scenes. Unfortunately the German adaptations have made a concession to the popular taste in retaining the accustomed Carnival frolic, which has nothing whatever in common with Da Ponte's "Don Giovanni"—to say nothing of Mozart. Only of late has this deformity been occasionally removed by the introduction of the original recitative in its stead. 142 But, apart from this, the current German version not only misses the easy, often striking and graceful style of the Italian verses, and spoils the melodious flow of the words; it even distorts the sense, and puts into the mouths of the singers sentiments foreign alike to the situation and to the music. 143

But whatever merit Da Ponte's libretto may claim, it claims chiefly as having given occasion to Mozart's music; (527 K.). One is accustomed to consider the libretto of an opera as the canvas on which the composer is to work DON GIOVANNI. his embroidery; it might in this case almost be compared to the frame on which the sculptor erects and models his statue, so completely is the endowment of the opera with body and soul the actual and exclusive work of Mozart. 144 The very overture 145 shows at once that something more is to be expected than the usual fun of opera buffa. Mozart must have strongly felt the necessity for a grave and solemn introduction, and has therefore selected the usual French form of overture, consisting of a slow introduction followed by an allegro. The andante is taken from the opera itself. We have the principal subjects of the spectral apparition (as it were, the musical expression of the old title "Il Con-vitato di Pietra"), indicating at the very commencement the culminating point of the opera, and fixing its ground-tone. 146 After a few introductory chords, clear, solemn sounds are heard like an apparition from heaven, spreading around a feeling of disquiet and strangeness, swelling into fear and horror. It is interesting to note how the ascending and descending scales, which, like the mysterious rustling of the THE OVERTURE. breeze, produce a kind of cold shudder in the hearer, were first brought clearly before Mozart's mind during the performance of the ghost scene. In the finale, where they first occur (p. 271), they were wanting in the original score; Mozart inserted them subsequently, and, room being scarce, wrote them in diminutive little notes, which often extend into the following bar; but the second time they occur, and in the overture, they are duly written down. The allegro is exclusively suggestive of the main features of the story; and an eager, irrepressible force, "which is intoxicated with the lust for enjoyment, and in enjoyment pines for lust," penetrates the whole, sometimes in accents of keen pain—[See Page Images] and hot desire, sometimes with exultation and wild delight. 147 The grave cry of warning which interrupts the eager movement—is answered, as if in frivolous mockery, by an easy playful passage—[See Page Images]

and then the contrasting elements are worked out with a wealth of harmonious and contrapuntal detail. Mozart is said to have borrowed both the subject and its imitation from DON GIOVANNI. a canon by Stölzel. 148 But a glance at the bars which are adduced to prove this—[See page Image]

will show what a keen hunt after plagiarism is required to find any borrowed idea in this imitative disposition of parts, common to many old church compositions. But here again Mozart has turned one of the resources of musical construction into a development of a psychological idea. How deeply suggestive it is that the warning cries should be heard woven into the imitations, dying into tender, almost melancholy entreaty, and finally, as the mocker seems determined to treat it all as a jest, rising into an awful call to repentance, sounding again and again with a force that penetrates into the very marrow of one's bones! Again, how truly conceived is the harmonic transition at the close, by means of which this warning motif cuts short with the seventh the jubilation at its very highest pitch, then dies away into gentle notes of remonstrance, and so gradually calms the hearer, and prepares him for what is to follow! 149

The opera begins by introducing us to the only really comic character it contains, and thus in a measure fulfils the anticipations excited by the overture. The typical character of the comic servant, which in "Don Juan" had passed through the successive stages of Gracioso, Arlecchino, Sganarelle, Hanswurst, and Kasperle, here attained to perfection as far as opera buffa is concerned. Leporello is a creation unique of its kind; but since in every branch of art gifted minds, however original, draw from a common source, so Leporello, LEPORELLO. striking as is his individuality, is developed out of the traditions of opera buffa. The distinctive character of the opera depends upon his intimate connection with all the situations and all the persons. It would not suffice for the due blending of the contrasting elements that Leporello should scatter jests in season and out of season on every conceivable topic; it was only by rendering all his acts and expressions consistent with his character that they could be made to react upon the situations and persons which brought them forth. He has a distinct personality, with his own way of thinking and feeling, and his own way of expressing himself. The boldness with which his essentially comic nature is brought into conflict with passions and events which sound the very depths of the human heart transports us to the highest province of humour. This is especially observable in his relations to his master, with whom he is at once in sympathy and in striking contrast.

He has the same desire for enjoyment and display, the same laxity of moral judgment, the same tendency to treat serious matters in a mocking spirit; he does not want ability either, but fails altogether in just those qualities which keep alive our interest in Don Giovanni—in strength and courage: his cowardice betrays itself on every occasion. While Don Giovanni is on the look-out for every adventure, however daring, and extricates himself from every peril, however imminent, Leporello is always pressed into the service, is utterly helpless in any contingency, and escapes finally only by virtue of his cowardice. This contradiction between his nature and his surroundings is all the more entertaining since he himself is perfectly aware of it. We learn his character from the very first. He is in high dudgeon at being forced to mount guard outside while his master is enjoying himself within, and marches impatiently up and down; but as he marches, proud thoughts of future grandeur take possession of his soul. "Voglio far il gentiluomo"—he might almost be taken for a cavalier. Suddenly he hears a noise. He is no longer the grand gentleman, but gives vent to abject fear in his terrified babble, as Don Giovanni wrestles with Donna Anna. When the danger grows serious, and the Commendatore falls, he is seized with horror, but DON GIOVANNI. although the moral shock is great it is with actual physical fear that his teeth chatter. The whole sequence of characteristic expression in the scene receives its full significance only by contrast with Leporello's cowardice. Donna Anna's passion, which Don Giovanni is constrained to oppose with a force equal to her own; the dignified bearing of the Commendatore, forcing Don Giovanni at length reluctantly to draw the sword; 150 the duel 151 with its horrifying result—all these afford a rapid succession of exciting and harrowing points, scarcely leaving room for the comic element, which nevertheless is there, and kept actively before us without doing injury to the harmony of the whole. What a force of artistic expression is displayed in the eighteen bars of andante which close the introduction! The death which ends the pain of the Commendatore, the mingled pity and triumph of Don Giovanni, the horror and fear of Leporello, are blended into such harmony as to leave the mind—relieved from suspense—full of true emotion. The unusual combination of three bass voices seems as though expressly chosen for the serious tone of the situation; the stringed instruments accompany the voices in the simplest manner, with a few sustained notes for the horns and bassoons, and only in the concluding symphony do the oboes and flutes enter with a plaintive chromatic passage. Here burns truly the inextinguishable flame of genius! 152

To return to Leporello. The various ways in which his timorous nature expresses itself in different situations give occasion for the most interesting characterisation. He has least to do in the first finale, but he stands close by his master, who shields him in their common danger; in the THE SESTET—LEPORELLO. sestet, however, he shows himself in his full proportions. Willing as he is to take his master's place with Elvira, his fears do not suffer him to do it; and when he finds himself alone in the dark with her, in spite of her entreaties not to be left alone, his one anxiety is to escape. The contrast is excellently expressed between the bashfulness of Elvira and the terror of her cowardly interlocutor. Just as he is making off, Don Ottavio and Donna Anna enter, and he conceals himself. A rapid transition to another key, emphasised by the unexpected entry of drums and trumpets, transports us to a higher region, and an affectingly beautiful expression is given to the sorrow of a noble mind and the consolation of a loving heart. Elvira again takes part in the situation; she is full of anxiety for the supposed Don Giovanni, and the expression of her fear becomes more material, lowering her to the level of Leporello, who seeks anew to escape, and repeats his former motif, but more despondently, and in the minor key. Then Zerlina and Masetto enter and run against him, Don Ottavio and Donna Anna also become aware of his presence; and, to their intense surprise, Elvira interposes a petition for Don Giovanni. Her former motif expressive of anxiety is taken up and maintained by the orchestra, becoming the nucleus of the situation, the surprise of the other serving only to give light and shade. When her petition is finally rejected, Leporello throws off his disguise. His timidity has become mortal fear, he knows that his insignificance alone can shield him, and he cannot reiterate too strongly that he is in very truth Leporello, and not Don Giovanni. The general surprise at this discovery is of course expressed in far stronger fashion than that at Elvira's sudden change of mind. What is to be done? At first they are all at a loss. With regard to Leporello, though he has more or less injured some of them, their position is in common; he is not the Don Giovanni on whom they have vowed vengeance; their indignant amazement at the deceit practised on them unites them into a compact body, more occupied with their own feelings than anxious to punish Leporello. The latter thinks only of the DON GIOVANNI. danger which threatens him, and, try as he may to collect himself, fear gets possession of him; he mumbles to himself, cries aloud, and makes a final appeal for mercy before he runs away. The perplexity which seizes them all at the discovery of Leporello is the point of union of the situation; the truth and energy with which the nature of each person is expressed giving it the stamp of life and power. 153 Leporello's position is totally different when Don Giovanni arrogantly orders him to invite the statue of the Commendatore to sup with them (Act II., 9). The mysterious sounds which he has just heard, and the marble figure, terrify him; but his master threatens with drawn sword; one fear overmasters the other, and he now persuades himself to address the statue—now turns in terror to his master. The musical expression of fear by means of intervals of sevenths—[See Page Image]

but how characteristic is the difference between this cringing appeal for pity, and the former energetic cry extorted, as it might be, on the rack! The terror increases at each successive attempt to address the statue, while the energy of each address decreases, and dies away at last into a plaintive parlando. The orchestra at the same time adds the expression of insolent mockery, which is not less characteristic of the situation, in a playful but sharply accented DUET—LEPORELLO passage, wherein the flutes are made especially effective.

As soon as Leporello's fears are verified and the statue actually moves, he succumbs to his terror, and Don Giovanr^ steps forward. Fear is a stranger to him; he sees the statue nod its head, and demands a more distinct answer; he puts his question plainly and decidedly; the statue answers by "Si." Leporello behaves as though struck by a thunderbolt, and has no idea but flight; even Don Giovanni is affected, and feels the supernaturalness, but he retains his self-possession; and, in the expression of trembling haste with which it hurries on the conclusion, the orchestra mingles something of the humorous impression which is given by the unexpected dénouement of the situation. The harmonic construction is here masterly in the extreme. From the beginning ^ to this point only the principal key and the one next related to it have been used; but now the interrupted cadence upon C major transports us to another atmosphere, and the altered movement of the orchestra is expressive of energetic activity.

A few chords, however, lead Don Giovanni's questions at once back to the dominant of the principal key, and the forcible "Si" of the Commendatore answers with the tonic, the clear calm of which is destroyed at once by Leporello's C: the real conclusion is only arrived at circuitously. Very different in effect on both occasions is the occurrence of the same C in the bass. The first time, when C major follows decidedly on B major, it makes a fresh, elevating impression; the second time, when C follows the sustained E as the third below, and forms the basis for the chord of the third, fourth and sixth, it gives a shock to the ear. The vivid reality with which the two contrasting individualities are made to express themselves in so unusual a situation has necessitated the free form of the duet. Detached musical phrases, complete in themselves, follow the play of the emotions without the elaboration or repetition of any of the subjects; only Leporello's cry of terror recurs several times, and serves to a certain extent as a connecting link. Mozart has judiciously refrained from bringing the horror of a spectral apparition objectively before his hearers. Their imagination has been sufficiently worked upon by the DON GIOVANNI. awful and imposing words of the Commendatore, 154 and their attention ought not to be diverted from Don Giovanni and Leporello. The freedom which permits of a playful treatment of Leporello's double fear and of Don Giovanni's consternation reposes mainly on the half-light in which the ghostly element is viewed. The spectator is impelled to accept the mixture of the horrible as a flavouring to the humorous; he is not in the least absorbed by horror. As soon as the ghost appears bodily, he comes to the foreground and gives tone and colour to all the rest; it is of advantage to the effect that none of the resources of musical delineation are employed to heighten this point. The true economy of an artist not only concentrates his resources on one point, but finds its truest expression in his appearing to disdain their use at another. The main point here was the audible voice of the statue, and Mozart gave it no support but the vibration of the horn note; this necessitated the greatest simplicity in the whole musical rendering of the situation.