Mozart's enduring recognition, between tune fans as a composer and between track historians as an issue for endured research, lies on the center of The Cambridge Mozart Encyclopedia. This reference e-book services either as a place to begin for info on particular works, humans, locations and ideas in addition to a summation of present pondering Mozart. The prolonged articles on genres replicate the most recent in scholarship and new methods of pondering the works whereas the articles on humans and locations offer ancient framework, in addition to interpretation.
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Extra resources for The Cambridge Mozart Encyclopedia
These two adjacent arias for the same character also coordinate with a crucial moment in the drama: Silvia has resolved her conflicting feelings. Of the two arias for Silvia in the second part, No. 19 is a big three-part piece deriving from the da capo tradition: the A section is a closed binary structure; B changes metre, tempo and mode; and the return is like a written-out dal segno as it quickly moves from E minor to G major for the return of the last part of A. Here the text with its ‘soaring and cooing heart’ contrasts with her pleas for the presentation of her beloved.
The rondo, ‘Per piet`a, non ricercate’, K420, was written for Adamberger as a substitute aria in Anfossi’s Il curioso indiscreto, but because of various intrigues, the tenor did not sing it in the revival. Although we have no direct evidence, it is likely that he would have used it in concert. Mozart mentions that Adamberger sang ‘a rondo of my composition’, probably K420, in a letter of 24 December 1784. Fischer, who was a pupil of Raaff at Mannheim, almost certainly asked Mozart to set the text of the tenor’s favourite aria as a homage to his teacher.
Povero Prence, con quel ferro istesso, Che me salvo, it lacerasti il petto. Ma tu si fiero scempio Perch´e non impedir? Come, o crudele, D’un misero a piet`a non ti movesti? Qual tigre ti nodri? Dove nascesti? Aria (bars 28–176) Ah, t’invola agl’occhi miei, Alma vile, ingrato cor! La cagione, oh Dio, tu sei Del mio barbaro dolor. Va, crudele! Ca, spietato! Va, tra le fiere ad abitar. Recitativo [obbligato] (bars 177–216) Misera! Invan m’adiro, E nel suo sangue intanto Nuota gi`a l’idol mio . .
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