137 ([return])
[ This shows the progress made upon Gazzaniga's work. That which was a mere comic by-play is here used as a motive for giving a common interest to the characters, and leads to the recognition of Don Giovanni, and to the climax of the finale.]
138 ([return])
[ At Hamburg, members of noble families required that minuets should be played alternately with the country dances, "that they might not be obliged to mix with the crowd" (Meyer, L. Schroder, I., p. 150).]
139 ([return])
[ Gugler's idea (Morgenbl., 1865, p. 775) that Don Giovanni feigns his alarm, as if saying to his captors, "Your unexpected and unfounded accusations have altogether upset me," has not convinced me.]
140 ([return])
[ The air is given in the Niederrhein. Mus. Ztg., II., p. 413. Mozart has changed the original key (A major) and somewhat condensed the whole, to its decided advantage.]
141 ([return])
[ How far superior to the senseless toasts in Righini's and Gazzaniga's versions.]