162 ([return])
[ In the autograph score the second part has no new tempo marked; Mozart intended to denote the climax by the change of beat; not by accelerated tempo. The chromatic interlude, which Ulibicheff looks upon as a moral warning (Vol. II., p. 125), gives me the impression of sensual longing.]
163 ([return])
[ The words which are given to Don Giovanni after the recommencement of the minuet, "Meco tu dei ballare, Zerlina vien pur qua," are not in the original score, nor in the libretto; later on, when he leads her to the country dance, he says: "Il tuo compagno io sono, Zerlina vien pur quà.">[
164 ([return])
[ Mozart rightly calls the piece not terzetto, but aria, for Don Giovanni's and Leporello's interruptions are only peculiarly constructed ritornellos, and do not alter the very simple aria form of the piece.]
165 ([return])
[ The assertion that Mozart wrote above the air "Nello stile di Haendel" (Rochlitz, A. M. Z., I., p. 116) is unfounded.]
166 ([return])
[ Ambros, "Grànzen der Musik und Poesie," p. 61.]