▁by ▁concentr ating ▁on ▁the ▁natural ▁harm on ics ▁( C – E – G – C ). ▁This ▁effect ▁is ▁strength ened ▁when ▁horn s ▁are ▁prominent ▁several ▁times ▁in ▁the ▁or chestra . ▁The ▁final ▁ 1 4 ▁bars ▁are ▁played ▁entirely ▁by ▁the ▁or chestra ▁as ▁the ▁characters ▁( in ▁produ ctions ▁respect ing ▁the ▁original ▁stage ▁direction ▁) ▁march ▁off ▁the ▁stage ▁in ▁military ▁fashion . ▁ ▁Re ception ▁The ▁catch y ▁t une ▁and ▁stir ring ▁military ▁accompan iment ▁have ▁made ▁this ▁aria ▁popular ▁from ▁the ▁very ▁beginning ; ▁indeed ▁at ▁the ▁re he ars als ▁of ▁the ▁premi ere ▁the ▁perform ers ▁burst ▁sp ont ane ously ▁into ▁bra vos ▁for ▁the ▁composer ; ▁for ▁details ▁see ▁article ▁on ▁Francesco ▁Ben ucci , ▁who ▁created ▁the ▁role . ▁Moz art ▁later ▁quoted ▁his ▁own ▁t une , ▁played ▁by ▁a ▁stage ▁band ▁as ▁part ▁of ▁a ▁med ley ▁sequence , ▁in ▁his ▁opera ▁Don ▁Giovanni ▁( 1 7 8 7 ) ▁– ▁evidently ▁aware ▁that ▁the ▁audience ▁would ▁instantly ▁recognize ▁it ▁( the ▁character ▁Le por ello , ▁in ▁Don ▁Giovanni ' s ▁Vienna ▁premi ere ▁also ▁s ung ▁by ▁Ben ucci , ▁iron ically ▁s ings , ▁ ▁– ▁" Now ▁that ▁t une ▁I ▁know ▁too ▁well "). ▁Moz art ▁further ▁re used ▁this ▁aria ▁in ▁the ▁first ▁of ▁his ▁Five ▁Cont red ans es , ▁K . ▁ 6 0 9 ▁( 1 7 9 1 ). ▁ ▁Harris ▁calls ▁" Non ▁più ▁and