[Footnote 157: The distinguishing form of imitation appears to be always justified psychologically by its appropriateness to the particular character; in the quartet, for instance, Donna Anna and Don Ottavio have the imitation; in the first finale it is given to Zerlina and Masetto.] [Footnote 158: A. M. Z., II., p. 538.] [Footnote 159: Beethoven declared he could not write operas like "Figaro' and "Don Juan"; they were repulsive to him (Rellstab, Aus meinem Leben, II., p. 240. Cf. Beethoven's Studien, Anh., p. 22). The pure morality of the great man, both in his life and his art, must be reverently acknowledged; at the same time, without allowing art to stray beyond the bounds of morality, we would not willingly see it excluded from the representation of this phase of human nature.] [Footnote 160: There is no truth in the remark in the Fliegende Blättem f. Musik (I., p. 184) that the song shows Don Giovanni as he wished to appear, while the accompaniment indicates what he really was. Don Giovanni expresses his real feelings, and the song is not mere hypocrisy. The peculiar character of the accompaniment is brought about simply by the nature of the instruments.] [Footnote 161: This little duet and chorus is written on different paper, like Masetto's air (Anh. 2). The two were not inserted later, but written in Prague, during the rehearsals, when the whole of this part seems to have been revised.] [Footnote 162: In the autograph score the second part has no new tempo marked; Mozart intended to denote the climax by the change of beat; not by accelerated tempo. The chromatic interlude, which Ulibicheff looks upon as a moral warning (Vol. II., p. 125), gives me the impression of sensual longing.] [Footnote 163: The words which are given to Don Giovanni after the recommencement of the minuet, "Meco tu dei ballare, Zerlina vien pur qua," are not in the original score, nor in the libretto; later on, when he leads her to the country dance, he says: "Il tuo compagno io sono, Zerlina vien pur quà."] [Footnote 164: Mozart rightly calls the piece not terzetto, but aria, for Don Giovanni's and Leporello's interruptions are only peculiarly constructed ritornellos, and do not alter the very simple aria form of the piece.] [Footnote 165: The assertion that Mozart wrote above the air "Nello stile di Haendel" (Rochlitz, A. M. Z., I., p. 116) is unfounded.] [Footnote 166: Ambros, "Grànzen der Musik und Poesie," p. 61.] [Footnote 167: In the Fliegenden Blättern fur Musik (III., p. n.) it is pointed out that the beginning of this melody is identical with the serenade, and this is adduced as an instance of refined characterisation, meant to indicate Don Giovanni's treachery to Elvira, whom he is addressing, while he is thinking of the waiting-maid; there is no foundation for the idea, however.] [Footnote 168: Gumprecht's remarks on this are instructive (Klass. Sopran-album, p. 8).] [Footnote 169: Gazzaniga places it in recitative before the finale.]