147 ([return])
[ In the printed score, the B of the last bar is B flat; the original has this B flat only in the last bar but one. The position of this chord with C sharp above B natural is unusual, but not unprecedented. Mozart has left the chief melody undisturbed to the first violins, the B flat of the second violins corresponding to the C of the flutes. The repetition of the passage in the second part of the overture is not written out.]
148 ([return])
[ Marpurg, Von der Fuge, II., p. 77. Kirnberger, Kunst des reinen satzes, II., 2, p. 18. It will be found in the Kyrie of Stolzel's Missa Canonica.]
149 ([return])
[ Nägeli, who finds great fault with Mozart's "exaggerated and licentious contrasts" (Vorlesungen, pp. 157, 160), asserts that the allegro of the overture contains a bar too much, and that the rhythm is thereby destroyed; a reproach which was thoroughly refuted by Kahlert (N. Ztschr. f. Mus., XIX., p. 97).]
150 ([return])
[ Mozart has suggested this train of ideas independently of Da Ponte. To the Commendatore's reproach: "Cosi pretendi da me fuggir?" Don Giovanni answers in the act of going, sotto voce, "Misero!" then to the renewed exclamation, "Battiti!" he repeats, piu voce, "Misero!" and not until the Commendatore has come close to him does he break out with "Misero attendi!">[
151 ([return])
[ The duel is simply and appropriately rendered by the answering whizzing passages for the violins and bass; very similar to Gluck's ballet, only more elaborated.]