[Footnote 147: In the printed score, the B of the last bar is B flat; the original has this B flat only in the last bar but one. The position of this chord with C sharp above B natural is unusual, but not unprecedented. Mozart has left the chief melody undisturbed to the first violins, the B flat of the second violins corresponding to the C of the flutes. The repetition of the passage in the second part of the overture is not written out.] [Footnote 148: Marpurg, Von der Fuge, II., p. 77. Kirnberger, Kunst des reinen satzes, II., 2, p. 18. It will be found in the Kyrie of Stolzel's Missa Canonica.] [Footnote 149: Nägeli, who finds great fault with Mozart's "exaggerated and licentious contrasts" (Vorlesungen, pp. 157, 160), asserts that the allegro of the overture contains a bar too much, and that the rhythm is thereby destroyed; a reproach which was thoroughly refuted by Kahlert (N. Ztschr. f. Mus., XIX., p. 97).] [Footnote 150: Mozart has suggested this train of ideas independently of Da Ponte. To the Commendatore's reproach: "Cosi pretendi da me fuggir?" Don Giovanni answers in the act of going, _sotto voce_, "Misero!" then to the renewed exclamation, "Battiti!" he repeats, _piu voce_, "Misero!" and not until the Commendatore has come close to him does he break out with "Misero attendi!"] [Footnote 151: The duel is simply and appropriately rendered by the answering _whizzing_ passages for the violins and bass; very similar to Gluck's ballet, only more elaborated.] [Footnote 152: Gazzaniga has made a tolerably long piece of it, not without expression, and the best in his opera--but how far apart from Mozart!] [Footnote 153: Schaul (Briefe üb. d. Geschmack in der Musik, p. 51) cites this sestet as an instance of Mozart's sins against sound sense, because it is written in tragic instead of melodramatic style.] [Footnote 154: The musical treatment of the words of the Commendatore has been visibly influenced by Gluck's "Alceste." A comparison of the two will show how skilfully Mozart introduced more delicate touches of detail without injuring the imposing effect of the whole.] [Footnote 155: A force and brilliancy are given to the wind instruments by means of the trombone such as was never before dreamed of. Mozart's sheet with the wind instruments is lost, but an old copy has the trombones. They are not used in the overture, because he meant it to be merely suggestive, and wished neither to lessen the impression of the actual apparition, nor to disturb the tone character of the overture. Gugler seeks to prove that the trombones were added later by Süssmayer (Leipzig, A. M. Z., 1867, No. 1-3), which I am not prepared to allow.] [Footnote 156: An instance is Leporello's confidential whisper to Elvira (intensified in effect by the interrupted cadence on B flat and the wonderful bassoon notes): "Sua passion predominante è la giovin principiante]