Search results for ""Author Wolfgang Amadeus Mozart""

“It was a treat so truly intellectual that every ear and every breast, susceptible of harmony and of impression, was gratified to a degree beyond our power to describe.” Thus reads one of the first London reviews of Così fan tutte. Its enigmatic mixture of a detached experiment in human foibles and a struggle of sincere emotions has often disturbed audiences. H.C. Robbins Landon observes, however, that Mozart’s heartfelt music proves he is openly on the side of the angels – the ladies – not the deceivers, however cynical Da Ponte’s words appear to be. Brian Trowell describes the sophisticated world in which the opera was conceived, while John Stone traces the origins of the libretto to Ancient Greece, medieval Italy and even to China. The text is certainly Da Ponte’s most original work, and is here presented in Revd M.E. Browne’s acclaimed translation, revised by John Cox. Contents: Mozart at the time of ‘Così fan tutte’, Brian Trowell; A Commentary on the Score, H.C. Robbins Landon; The Background to the Libretto, John Stone; A Performance History, Nicholas John; Così fan tutte: Libretto by Lorenzo da Ponte; Così fan tutte: English translation by Marmaduke E. Browne, revised by John Cox

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Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English. A score embodying the best available musical text. Historical background—what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material. A detailed analysis of the music, by the editor of the volume or another well-known scholar. Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.

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Mozart wrote Idomeneo when he was twenty-four years old, and the opera was described by Albert Einstein as ‘one of those works that even a genius like Mozart could write only once in his life’. It is one of most astonishing achievements of an altogether astonishing career. In this newly commissioned guide, Julian Rushton explains the special nature of the music in a detailed analysis of its themes and development, while Nicholas Till places the opera in its context as an expression of the Enlightenment. Gary Kahn explores the performance history of an opera which, although largely ignored for over a hundred and fifty years, has now taken its place as part of the international operatic repertoire. A selection of the unique letters between Mozart and his father written during the opera’s composition is also included.

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A selection of Mozart's letters, translated into English, complete with notes, linking commentary and chronology.

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With his last opera Mozart created a piece of theatre which defies categorization. In theory it is a Singspiel, a mixture of songs and dialogue, in which the spectacular effects and comedy fit naturally: they appeal today as much as they did when it first opened in popular Viennese theatre two hundred years ago. Rodney Milnes recalls some of the other pieces playing at the time, such as Kaspar the Bassonist, or The Magic Zither. On the other hand, it belongs to a tradition of Enlightenment texts in which a young Prince, destined to be a ruler, learns from his adventures how to behave wisely as a social being. This is a re-working of the Orpheus myth, in the context of the Age of Reason and Freemasonry. David Cairns describes the many beauties of the score in loving detail, taking the reader through the complex plot, to clarify and interpret it. Famous commentaries by Goethe, Berlioz, E.T.A. Hoffmann and G.B. Shaw reveal their enthusiasm for the opera. A useful and unusual feature of this guide is the complete dialogue, in German with an English translation, which is often badly cut in performance. Like so many fairy-tales, The Magic Flute repays careful attention: its music has a charm to inspire the child in every listener.

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John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos. Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent

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Today Mozart's exquisite ÊLe Nozze di FigaroÊ delights and moves audiences everywhere long after its 1786 birth into tumultuous times. The original Beaumarchais play raised a firestorm in France then on the brink of revolution with its dangerous commentary on class relations. However Lorenzo Da Ponte carefully omitted anything political from his opera libretto; what remained when joined with Mozart's sublime and penetrating music was a witty yet profound tale of infatuation heartache scheming and tenderness where complex emotions are laid bare and everyone regardless of class is equally vulnerable to the powers of love.ÞFigaro continues the story of ÊThe Barber of SevilleÊ several years later in a single day of madness. Count Almaviva's love Rosina is now his long-suffering countess and the barber Figaro now the count's valet is about to marry Susanna the countess's maid. But the couple-to-be must first deal with two obstacles: a demand that Figaro pay his debt to an older woman or marry her instead and the count's determination to bed Susanna on her wedding night.ÞSuspicions fly plots are hatched narrow escapes abound and connivers receive their due. Love and forgiveness finally bring order to the craziness and a day filled with torment and worry ends in joy.

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Mozart's Sonatas for Pianoforte are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works, prepared from original sources by leading scholars. Includes informative introductions and performance notes.

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Beethoven's Complete Pianoforte Sonatas, edited by Harold Craxton, are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works, prepared from original sources by leading scholars. Includes informative introductions and performance notes.

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