This air, unlike the rest of the opera, retains the form of the older school, then still frequently heard in church music.[165] Apparently Mozart made use of the severe, harsh form which at once suggests the idea of sacred music to the hearer, in order to give the impression of a moral lecture, and to emphasise the contrast with the "gay intoxication of self-forgetfulness" of the rest of the scene.[166] This mode of address was appropriately and suggestively employed towards the peasant maid; but Elvira adopts quite another tone when she returns and finds Don Giovanni in close converse with Donna Anna. In the quartet (Act I., 8) (likely 9, DW) her warning, in accordance with the exalted rank of the mourners, takes a plaintive tone, and her passion only flares up again when roused by Don Giovanni's duplicity. Then she comes forward, and her energetic tone predominates in the ensemble movements, although the silent power of true nobility and grief exerts a moderating influence on her expressions of passion. She makes a similar impression {DON GIOVANNI.} (192) in the first finale (Act I., 13). She has explained herself to Donna Anna and Don Ottavio, and they are leagued together to watch and to expose Don Giovanni. When they appear masked in front of the casino she encourages them to act boldly; Don Ottavio chimes in with her, but Donna Anna is seized with maidenly fears face to face with such an adventure. All this is expressed in the most admirable manner, and a few touches suffice to place the two women before us in all the dissimilarity of their natures. The accompaniment, too, is unusually characteristic. In sharp contrast to the cheerful excitement in which Don Giovanni, Zerlina, and Masetto make their exit stands the mournful accompaniment to Elvira, while Don Ottavio's powerful tenor notes are infused with additional energy by the accented passage? for the wind instruments. The accompaniment, without altering its essential character, adopts at Donna Anna's entrance an anxious plaintive tone expressive of the purity and elevation of her mind. After a short colloquy with Leporello, who invites them to enter, the three, confident in the justice of their cause, prepare for their difficult enterprise. After the restless energy of the previous scene this clear and composed expression of a deeper emotion diffuses a sense of calm beneficence. The construction of the movement places Donna Anna and Don Ottavio in close juxtaposition; Elvira is placed in opposition to them and, in accordance with her character, she is more animated and energetic. Here again the desired effect is much strengthened by the support of the orchestra. It was unusual to make use of the wind instruments alone in accompaniments; and in addition to this the full soft sound of the extended chords contrasts strikingly with the deep tones of the clarinets, heard now for the first time. What a contrast it forms, too, to the tone-colouring of