The grave and elevated tone betokening the presence of higher moral forces is additionally impressive after the unquiet, passionate activity which precedes it. For the first time in this finale the voices put forth all their power and beauty, and they receive powerful assistance from the accompanying wind instruments. The voices seem to stand out from the dark background of the peculiarly deep notes of the clarinets, but the chords which follow are like gleams of light cast upon them, and the whole movement appears transfigured in the glory of a higher region. The scene changes, as was not unusual in finales, and we find ourselves in the ball-room. The dance ended, the guests disperse for refreshment, and Don Giovanni and Leporello, as hosts, Zerlina unable to escape Don Giovanni's observation, and Masetto, jealously watching her, come to the front. The orchestra plays the principal part in the lively movement, 6-8, which portrays this situation. Rhythm, melodies, and instrumental colouring, all are stamped with voluptuous excitement, and we seem to breathe the heated air of the ball-room. The voices move freely, either joining in the orchestral subjects or going their own way in easy parlando or prominent melodies, grouped according to the requirements of the situation. The entrance of the masks gives, as has already been observed, a different tone to the scene; the stranger guests are courteously greeted, and Don Giovanni's summons to the dance places fully before the spectators the ball-room scene, which has so often been suggested. The real motive of the scene being musical, the dramatic representation is skilfully made the object of the musical construction. The company is a mixed one, and different dances are arranged to suit the taste of all; thus also Don Giovanni is provided with the means of freeing himself of those persons who come in the way of his design. His distinguished guests tread a minuet, he himself joins in the country dance with Zerlina, while Leporello whirls Masetto in the giddy waltz. The musical representation of the situation in the three different dances is thus made the chief point of the scene, the plot moving rapidly onward; none of the characters {DANCES.} (209)