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 {DON GIOVANNI.} (168) 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 {THE OVERTURE.} (169)