Score Study: Don Giovanni Act I: No. 7, Duettino

The recitative preceding the duet should conclude with a dominant chord in the continuo, which is conducted and resolves, in tempo, on the downbeat of the duet.  This is an interesting duet in that the music of both Don Giovanni and Zerlina is given due attention.  By that I refer to the stately gavotte of the first portion, which is music of the noble class, followed by the pastoral gigue (thanks Allenbrook) which is clearly associated with Zerlina’s peasant status (recall that the wedding chorus was also in the same meter).  As is duly noted by many, the most interesting part is that while the duet begins with Giovanni’s music, Zerlina’s music takes over.  This lends us an interesting insight into her character. As is demonstrated by Zerlina’s later exchange with Masetto (and the aria ‘Batti, batti’), Zerlina is as much a manipulator as Don Giovanni is.  In this duet, it is clear that Zerlina is, in fact, the one who has ensnared D. G..

The tempo of the gavotte is unhurried, by not languishing either.  Giovanni is always smooth in his lines.  The dotted rhythm of Zerlina’s entrance, with the words “vorrei e non vorrei”, shows us she is tentative to take Giovanni’s hand, yet the steady rhythm of the orchestra does nothing to support this, thus informing us that it is, in fact, an act on her part.  Other giveaways of her character include the flirtatious figure in the violins at m. 22 after she has claimed to pity Masetto.  The very repetitions of “non son piu forte” tell us the lady “doth protest too much”, and Giovanni’s observant response of “Vieni, vieni!” should be comical in its excitement. The fact that the flute and bassoon join in the melody at the next statement of the melody give us some indication that this unity has already been accomplished. The added ornamental elements of the rest of this section are purely playful in nature, with no sincere hesitation or protestation from either party. 

The fact that the alternation of voices, which was characteristic of the first half of this duet, gives way to homophonic writing at the pastorale further confirms the ‘conquest’ is sealed.  The simple words “Let’s go to soothe the pangs of an innocent love” are colored by the slippery chromaticism in mm. 56 and 57 to illustrate there is nothing innocent about to transpire between them.  These two measures, in fact, musically illustrate the very deed they are about to perform. 

Note:  The 6/8 pastorale is marked Allegro in the Bärenreiter edition.  This tempo change was missing in most other editions and has rarely been observed.  The Allegro indication should serve only to ensure a slightly quicker tempo, but a pastoral dance is, by no means, a quick step and the tempo should not be any faster than is dramatically necessary.