Chapter XXXVIII: "don Giovanni." (2)

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.

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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

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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.

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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

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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

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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

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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

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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

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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

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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,

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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

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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--

"Come un agnello,
Che va al macello,
Andrai belando
Per la città"--

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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"--

"Questo è il fin di chi fa mal,
E de' perfidi la morte
Alla vita è sempre ugual!"

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

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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

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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

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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

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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,

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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

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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

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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

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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

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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

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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.

The appearance of the Commendatore in the last finale is led up to in truly masterly fashion. First we have the display of the luxurious living which has erased from Don Giovanni's mind all remembrance of what has passed. Leporello's greediness, with the jests upon it which were customary in this part of the piece, are made subservient to the more delicate humour of the table music. The entrance of Elvira heightens the situation, and the contrast of her deeply moved feelings and Don Giovanni's frivolous excitement introduces a new turn, and prepares for the catastrophe. Leporello feels, indeed, that Elvira is in the right, but dares not oppose his master, and so introduces no dissonant tone into the strongly marked character of this scene. But when the catastrophe draws near it is Leporello who, as he opened the action at the beginning of the opera, now announces the dread apparition at its close. All the

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terror he has hitherto been a prey to is as nothing compared with his mortal anguish at the sight of the marble guest, and even to the commands of his master he answers only with cries of terror; we feel that, ludicrous as the gestures of the cowardly fellow may be, something must have happened that would have alarmed any one, however courageous. Then there enters the Commendatore, accompanied by! soul-harrowing sounds.[155] No human passion, no anger, no pity speaks from his awful tones: the inflexible decree of an eternal law is embodied in all its sublimity in music. The warning words pursue their measured course, now tarrying upon one note with varied chords, now moving in forcible intervals, the heavy weight accumulating till it threatens to annihilate the culprit. The orchestra is calmer and quieter even than before, but adds many finely shaded touches to the image of the apparition. At one time it strengthens the weighty tread of the sustained sounds by the sharp rhythm of dotted notes--then again it falls in dissonant chords upon strongly accented notes, or gives expression to the curdling horror which seizes the hearer, by means of rapid ascending and descending scales. In face of this dread apparition Don Giovanni summons all his strength together. At first, indeed he is consternated, and the orchestra gives expression to his horror; but he soon collects himself, becomes more and more decided as the Commendatore continues to urge him, the call to repentance serving merely as a challenge to his defiance: his fall is inevitable. Again, as at the first, the two stand opposite each other in deadly struggle, but now it is Don Giovanni who is forced to yield, powerless against the forces of the unseen world. Mozart has endued the awe-struck sublimity

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of this scene with noble beauty and force of climax, and has even ventured to invest it with something of a comic tone. Leporello's abject fear during such a conflict was a matter of course, but it would be foreign to his nature even under these circumstances, to be altogether silent. When, with chattering teeth and shaking limbs, he sings his triplets when, upon the Commendatore's question "Verrai?" he calls in deadly fear to his master--[See Page Image]

every one must feel how wofully in earnest the poor wretch is, and how he is ludicrous not of his own free will, but because he cannot help it. Every-day life shows how easily the sublime or the awful passes into the ridiculous, and how the incongruous emotion thus produced only strengthens the impression of horror; the blending of these contrasting elements into a true and living representation in art can only be accomplished by a great genius. There is scarcely anything in dramatic music which can compare in this respect with this scene of "Don Giovanni."

Leporello is not conscious of the ridicule he incurs by his cowardice, and in truth it forms but one feature in his character. His air (Act II., 7) following the sestet, in which he seeks to justify himself on all sides, looking out at the same time for an opportunity of escape, makes his cunning more apparent than his fear. He has collected his senses, and, convinced that once recognised he has nothing more to fear, he only seeks to fortify himself with excuses until he can escape. The air is therefore lighter and easier in tone, in strong contrasts, varying according to the quarters to which he addresses himself, but in no way elaborated, and coming to an end with a musical point charmingly expressive of the words. The moderated tone of the piece is of very good effect after the ponderous length of the sestet. Leporello is a dissipated, insolent fellow, but, little as his principles can stand before a threat or a bribe, he has not so completely emancipated himself from all moral restraint

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as has his master. He has little scruple, however, in accepting his part in the villainies planned by Don Giovanni, who makes use of him chiefly to get rid of Elvira. In the celebrated air (Act I., 4) in which, professedly by way of consolation, he unrolls the list of his master's amours, he does not conceal the pleasure which the remembrance of the love adventures and the thought of the trick he is playing on Elvira afford him. In the first part the enumeration of the long list is made parlando, only here and there the accent is somewhat raised for effect, as at the famous "Ma in Ispagna son già mille e trè"; but the orchestra, in lively motion all the time, betrays the reminiscence of jovial and licentious adventures which is passing through the mind of the speaker. He grows warmer over his description of his master's tastes and habits, and gives full expression to every detail, until his final malicious apostrophe, "Voi sapete quel che fa," is given with undisguised mockery.

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

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

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

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

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

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

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