Score Study: Don Giovanni Act I: No. 14 [13] Finale

Allegro assai

The opening of the finale is in two with a very strong distinction between strong and weak half-note pulse.  Although “p”, the attack of each bar at the beginning must be strongly accented and played with great energy (think “>” with immediate diminuendo).  This energy in the orchestra must be established to motivate Masetto’s hurried lines.  The use of words beginning with the letter ‘P’ is a clever use of language to assist in conveying the frantic atmosphere of the scene.  Care need not be taken to avoid plosive consonants here as the context dictates the diction. 

The frenzy of the scene, and the texture of the orchestra, demands the horns’ entrance in m. 5 consist of a strong attack then diminuendo into m. 6.  Voicing should be toward the woodwinds in mm. 7-9 for greater contrast with the vocal color (which can easily be swallowed by the string voicing), but also for sake of textual interest (voice first the bassoons, then to the oboes in the response).  Although Masetto is pointing out a hiding place, the fact that he must first draw Zerlina’s attention to it is the reason the voice should not sound ‘covered’ or ‘hidden’ by the orchestra.  Instead, the text “cheto, cheto mi vo’ star” is doubled at the unison by the strings. 

Do not allow the orchestra to accent the downbeat of m. 12!!!!  Here, the breathless quality of the music accompanying Zerlina’s line requires stress on the dissonance that resolves over the bar line (ie. The downbeats of mm. 12, 13, 14 and 18 must all be softer than their precipitants). 

The interplay of dynamics between Zerlina and Masetto in the next passage is self-explanatory, just make sure the climax occurs on the downbeat of m. 34 and that the rest of that bar is diminuendo (NO cadential crescendo on a dominant!). 

M. 52, and in Coro parts with same text:  separation with punctuation after “Su”, then legato “svegliatevi da bravi.” while making sure to energize the eighth-note of the dotted rhythm always. 

Andante

The tempo change should not be prepared at the end of the Allegro, but rather subito at the Andante.  While it is pedantic, the tempo of the Andante can be approximated if considered to be equal to the “whole note” of a one-bar, half-note triplet. 

The music of the Andante is revelatory in that it is a Minuet, indicative of the courtly elegance equal to Giovanni’s status and that to which Zerlina aspires.  Their vocal lines are unified, answering each other with the same material before becoming intertwined together in m. 113.  This is the same pattern as their duet, indicating that Giovanni’s attempts to pick things up where they left off.  The repetition is suggestive of the singlemindedness of their interests, and the overt romanticism of the vocal melody as articulated first by the winds beginning in m. 108, then by violins in m. 113 is reminiscent of the garden scene in Le Nozze di Figaro.  As with that scene, warmth of the instrumental line should be gained from voicing to the lower octave of the melody (ie. Fg/Vln. II) and an exaggerated vibrato should be used (over-romanticize). 

The color must change dramatically and abruptly in m. 121 with Giovanni’s discovery of Masetto:  non-vibrato in strings; voice to bass.

Allegretto

A loose tempo relationship may be established (especially if the two framing menuetts are desired to be the same tempo), but this is neither dramatically or technically necessary.  However, a relationship is obvious between the tempo of the 2^nd menuette and the Adagio which follows.

Adagio

Quarter-note preceding should equal the new eighth-note.  Excellent and unified open ‘o’ vowel on first syllable of “Protegga”, singers should strive for a unified sound (non-soloistic) in this section that is meant to invoke the quality of a prayer.  Only Elvira’s phrase “Vendichi il giusto cielo il mio tradito amor” should be slightly activated, especially mm. 266 and 268 which require a push in tempo within the bar for purposes of emotional momentum (this movement is required in the resolving measures). 

M. 261: allow for a breath after the turns, before “Pro…”

Downbeat of the final bar should be placed for sake of the “sfp”

Allegro

Gigue 6/8 – rustic and peasant quality: do not allow 1^st violins to divide on the the chords in the first bar.

Parts of D.G. and Masetto switched in my full-score – these have been corrected.

Maestoso

In Four.  Make sure Leporello fills out his vowels on “Venite pur avanti.” 

Allegro assai

Essential to keep “p” dynamics down but highly energized.

Andante maestoso

F Major is the key of Leporello. The Cadence in the dominant of D Minor, which resolves to F Major is, as Ratner contends, indicative of the confrontation between Don Giovanni and Leporello as revealed in the key relationships at the beginning of the opera.  This section is Giovanni’s posturing in hope of escape.  The dotted rhythms should be sharp and double-dotted. 

Do NOT allow hooked bowing on dotted rhythms!!!

Allegro

“fischia” and “fulmine” are the color words of this section.  The Thunderbolts and whirling of the orchestra are obviously throughout.  The proper lenghthening of vowels is imperative for the voices to project through the turgid orchestra texture.  These figurations at tempo cannot be underplayed by the orchestra, so the voices must take advantage of legato and resonance of vowels whenever possible. 

Piu stretto

Bring orchestra down, dynamically, in measure 639 and crescendo for sake of line.  However, keep voices up in intensity for final drive