[Footnote 170: It is an oft-repeated mistake that this part was written by Mozart for Campi, who was born in Lublin, 1773, and had been a main support to Guardasoni's company since 1791 (A. M. Z., II., p. 537).] [Footnote 171: Marx, Berl. Mus. Ztg., I., p. 319. Rellstab, Ges. Schr., VI., p. 251. Genast says (Aus d. Tageb. e. alten Schausp., III., p. 171) that Bethmann rendered Donna Anna in this sense, and that upon his representation Schröder-Devrient copied it. Cf. A. von Wolzogen, Wilh. Schroder-Devrient, p. 163.] [Footnote 172: It is a great improvement on Gazzaniga's libretto that Donna Anna does not disappear after her first entrance, but takes the place in the plot of the meaningless Eximena; but to invent new motives for her was beyond Da Ponte's power.] [Footnote 173: Ulibicheff (III., p. 113), Lobe (Flieg. Blätt. f. Mus., I., p. 221), Vincent (Leipz. Theat. Ztg., 1858. Cf. Deutsche Mus. Ztg., 1860, pp. 222, 231), have taken a right view of Don Ottavio's character.] [Footnote 174: Marx considers the voice parts and the whole spirit of the aria powerful and grand, but the instrumentation trivial (Kompositionslehre, IV., p. 529); he conjectures that it may have been worked out by Sussmayer. This conjecture is contradicted by the autograph score; and we may rather believe that Mozart was actuated by consideration for Saporiti's voice, and refrained from overpowering it by the instrumentation.] [Footnote 175: Even at the beginning of the finale there is no chorus of villagers. Don Giovanni enters with several servants, who echo his greeting to the guests: "Su corraggio, o buona gente!"] [Footnote 176: Cf. Gugler, Morgenbl., 1865, No. 32, p. 749.] [Footnote 177: Da Ponte, Mem., III., i p. 80. A. M. Z., XXIV., p. 301. Cf. A. Schebest, Aus d. Leben e. Kunstlerin, p. 203.] [Footnote 178: Bitter, Mozart's "Don Juan," p. 82.] [Footnote 179: The substitution of a letter in his stead, written by him to Donna Anna, confuses the situation without helping out Don Ottavio. Gugler, Morgenbl., 1865, No. 33, p. 780.] [Footnote 180: Whoever has heard this air sung by a true artist will have been convinced that the often-abused second movement of it is a necessary element of the characterisation.] [Footnote 181: The same jest has been introduced by Weber in the first act of "Der Freischütz," when the village musicians fall into the ritornello after the mocking chorus.] [Footnote 182: The second and third orchestra consist only of two violins and bass, the wind instruments of the first doing duty for all; Mozart apparently wished to avoid a multiplication of effects.] [Footnote 183: It is remarkable that there is in the music of "Don Giovanni" no trace of national characterisation. In this dance-music, where it might have occurred, in the table music of the second finale and in the serenade, Mozart has drawn his inspiration from his immediate surroundings, and has reproduced this directly upon the stage.]