But we are concerned now only with the play as Da Ponte and Mozart gave it to us. In the dramatic terminology of the eighteenth century "Don Giovanni" was a dramma giocoso; in the better sense of the phrase, a playful drama--a lyric comedy. Da Ponte conceived it as such, but Mozart gave it so tragical a turn by the awful solemnity with which he infused the scene of the libertine's punishment that already in his day it was felt that the last scene as written and composed to suit the conventional type of a comic opera was an intolerable anticlimax. Mozart sounds a deeply tragical note at the outset of his overture. The introduction is an Andante, which he drew from the scene of the opera in which the ghostly statue of the murdered Commandant appears to Don Giovanni while he is enjoying the pleasures of the table. Two groups of solemn chords command attention and "establish at once the majestic and formidable authority of divine justice, the avenger of crime." {2} They are followed by a series of solemn progressions in stern, sinister, unyielding, merciless, implacable harmonies. They are like the colossal strides of approaching Fate, and this awfulness is twice raised to a higher power, first by a searching, syncopated phrase in the violins which hovers loweringly over them, and next by a succession of afrighted minor scales ascending crescendo and descending piano, the change in dynamics beginning abruptly as the crest of each terrifying wave is reached. These wonderful scales begin thus:-- [Musical excerpt]