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Mozart, Concert arias CD 1 CD 2 Wolfgang Amadeus 06 | KV 486a (295a) »Basta, vincesti« 01 | KV 479 »Dite almeno in che 06 | KV 538 »Ah se in ciel, benigne »Ah non lasciarmi, no« mancai« (für Sopran, Tenor, zwei stelle« (für Sopran und Orchester Mozart (1756-1791) (für Sopran und Orchester Bässe und Orchester · quartet for for soprano and orchestra) 7:41 for soprano and orchestra) 5:24 soprano, tenor, 2 basses and 07 | KV 539 »Ich möchte wohl der 01 | KV 21 (19c) »Va, dal furor 07 | KV 374 »A questo seno deh orchestra) 6:21 Kaiser sein« (für Bass und portata« (für Tenor und vieni« · »Or che il cielo a me ti 02 | KV 480 »Mandina amabile« Orchester · for bass and orchestra) 2:41 Orchester · for tenor and rende«(für Sopran und Orchester (für Sopran, Tenor, Bass und 08 | KV 541 »Un bacio di mano« orchestra) 5:58 for soprano and orchestra) 8:24 Orchester · Trio for soprano, (für Bass und Orchester 02 | KV 23 »Conservati fedele« 08 | KV 383 »Nehmt meinen Dank, tenor, bass and orchestra) 4:52 for bass and orchestra) 2:10 (für Sopran und Orchester ihr holden Gönner!« (für Sopran 03 | KV 490 »Non più, tutto ascoltai« 09 | KV 577 »Al desio, di chi for soprano and orchestra) 7:00 und Orchester · for soprano and »Non temer, amato bene« t’adora« (für Sopran und Orches- 03 | KV 36 (33i) »Or che il dover« orchestra) 3:13 (für Sopran, Violin-Solo und ter · for soprano and orchestra) 5:55 »Tali e cotanti sono« (für Tenor 09 | KV 419 »No, che non sei Orchester · for soprano, 10 | KV 582 »Chi sà, chi sà, qual und Orchester · for tenor and capace« (für Sopran und solo violin and orchestra) 7:17 sia«(für Sopran und Orchester orchestra) 8:43 Orchester · for soprano and 04 | KV 505 »Ch’io mi scordi di te?« for soprano and orchestra) 04 | KV deest »Cara, se le mie orchestra) 4:40 »Non temer, amato bene« (für 11 | KV 583 »Vado, ma dove? Oh pene« (für Sopran, zwei Hörner, 10 | KV 420 »Per pièta, non ricercate« Sopran, obligates Klavier und Dei!« (für Sopran und Orchester Violine, Viola und Bass · for (für Tenor und Orchester · for Orchester · for soprano, piano for soprano and orchestra) 4:00 soprano, 2 horns, violin, viola tenor and orchestra) 5:43 obbligato and orchestra) 10:05 12 | KV 612 »Per questa bella mano« and bass) 9:42 11 | KV 432 (421a) »Così dunque 05 | KV 528 »Bella mia fi amma, (für Bass, obligaten Kontrabass 05 | KV 272 »Ah, lo previdi!« tradisci« · »Aspri rimorsi addio« · »Resta, oh cara« und Orchester · for bass, double- »Ah t’invola« · »Deh, non varcar« atroci«(für Bass und Orchester (für Sopran und Orchester bass obbligato and orchestra) 4:12 (für Sopran und Orchester · for for bass and orchestra) 3:51 for soprano and orchestra) 10:05 13 | KV Anh. 245 (621a) »Io ti lascio, soprano and orchestra) 14:11 oh cara, addio« (für Bass und Orchester · for bass and orchestra) 2:59 2 3 Francine van der Heyden Sopran · soprano »Alle jungen Leute müssen am Miranda van Kralingen Narrnseil lauffen« Sopran · soprano Marcel Reijans “All young people must make Tenor · tenor fools of themselves” Ezio Maria Tisi Bass Antonia Bourvé Sopran · soprano nklusive einiger Fragmente und If fragments and drafts are included, Anna Haase Entwürfe hat Wolfgang Amadeus Wolfgang Amadeus Mozart composed Mezzosopran · mezzo-soprano Mozart etwa sechzig Konzertarien some sixty concert arias – nearly ten per I komponiert – das entspricht (bei cent of the 626 numbered works in the Maraile Lichdi 626 Köchel-Verzeichnis-Nummern) bald Köchel catalogue. This 2-CD set pre- Sopran · soprano zehn Prozent seines nummerierten Wer- sents two dozen of the most interesting Yuka Matsuoka Limancher kes. Zwei Dutzend der interessantesten arias. Sopran · soprano Arien sind auf unserer Doppel-CD Mozart’s concert arias fall into four zusammengefasst. categories. The largest of them consists Mozarts Konzertarien lassen sich in of additional arias for his or other com- vier unterschiedliche Kategorien auftei- posers’ operas, mostly for singers he was European Sinfonietta len. Am häufi gsten handelt es sich um on friendly terms with. There are also Ed Spanjaard Einlagenarien für eigene oder fremde arias written for specifi c concert perfor- European Chamber Orchestra Opern, meistens für befreundete Sän- mances, as well as special cases which Wilhelm Keitel ger, manchmal wurden die Arien kon- will be discussed at the appropriate European Chamber Soloists kret für Aufführungen im Konzertsaal place. Nicol Matt geschrieben, und es gibt auch spezielle 4 5 Sonderfälle, über die im Einzelfall “Va, dal furor portata” K21 sich empor hob. Das Wort, das er zu dieser second extemporary composition was berichtet wird. (K19c), the fi rst surviving vocal compo- zweiten extemporirten Composition Perfi do.” “Va, dal furor portata” was Die erste erhaltene Vokalkomposi- sition by Mozart, was written in Lon- wählte, war Perfi do.« – »Va, dal furor composed to an existing libretto. Since tion Mozarts »Va, dal furor portata« don, where Leopold and his son Wolf- portata« wurde dagegen auf einen vor- the autograph no longer seems to exist KV 21 (19c) entstand in London, wo gang Amadeus and daughter Maria handenen Operntext komponiert. Da and two copies in Leopold’s hand are all sich Vater Leopold, Sohn Wolfgang Anna (“Nannerl”) spent the period from das Autograph nicht mehr zu existieren we have, it is not possible to say for cer- Amadeus und Tochter Maria Anna April 22, 1764 to August 1, 1765. It was scheint und zwei Abschriften von Vater tain whether it was actually all Wolf- (»Nannerl«) Mozart vom 22. April 1764 probably intended as a sample for the Leopolds Hand die Grundlage jeglicher gang’s work. “The heading and text were bis zum 1. August 1765 aufhielten. Es concert of “Vocal and Instrumental Meinungsbildung darstellen, lässt sich defi nitely written by Leopold Mozart, handelt sich wahrscheinlich um ein Pro- Music” they gave on February 21, 1765. nicht mit Sicherheit sagen, ob das Werk and it is probable that the whole score bestück für ein eigenes Konzert mit The English scholar Daines Barrington tatsächlich komplett von Wolfgang was too”, wrote Otto Jahn in his major »Vocal and Instrumental Music« am 21. reported as follows in 1770 on this stammt. »Überschrift und Text sind sicher Mozart biography (²1867). Februar 1765. Der englische Gelehrte improvisation of a “rage aria” by Mozart: von Leopold Mozart geschrieben, wahr- In September 1765, during their tour Daines Barrington berichtet 1770 über “Finding that he was in humour, and as scheinlich aber die ganze Partitur.«, ver- of Europe, the Mozarts arrived in The diese Mozart-Improvisation einer it were inspired, I then desired him to mutet schon Otto Jahn in seiner großen Hague. There Wolfgang composed the »Wutarie«: »Da ich fand, daß er bei compose a Song of Rage, such as might Mozart-Biographie (²1867). aria “Conservati fedele” K23 the fol- Laune und inspirirt war, bat ich ihn, be proper for the opera stage. The boy Die Mozarts auf Europatournee – ab lowing month and revised it in January einen Gesang der Wut zu componiren, so again looked back with much archness, September 1765 trifft man sie im nie- 1766. In the catalogue Leopold Mozart wie er für die Oper geeignet sei. Der and began fi ve or six lines of jargon derländischen Den Haag. Dort entstand began compiling in 1768, mention is Knabe sah sich wieder sehr pfi ffi g um und recitative proper to precede a Song of im Folgemonat die im Januar 1766 made of “15 Italian arias” Wolfgang begann fünf oder sechs Zeilen von einer Anger. [...] In the middle of it he had überarbeitete Arie »Conservati composed, “some in London, some in recitirenden Redeweise, die passend zu worked himself up to such a pitch, that fedele« KV 23. Im Verzeichnis Leo- The Hague”. Only the two presented einem Vorspiel für einen Zorngesang war. he beat his harpsichord like a person pold Mozarts, das er 1768 anlegte, ist here have survived. K23 was probably (…) In der Mitte davon hatte er sich zu possessed, rising sometimes from his von »15 Italiänischen Arien« die Rede, premiered on January 22, 1766, at a einer solchen Begeisterung emporgearbei- chair. The word he pitched on for this die Wolfgang »theils in London, theils im concert given by the two children at the tet, daß er sein Klavier wie ein Besessener Haag, Componiert« habe, von denen hotel De oude Doelen in The Hague. schlug und einigemale in seinem Stuhl aber außer den beiden vorliegenden 6 7 keine weitere erhalten ist. Wahrscheinli- In Salzburg on December 21, 1766, mans Bewunderung componirt hat; alles K36 (K33i). It is a “licenza” performed che Uraufführung von KV 23 ist der 22. shortly after returning from that fi rst dauerte bis halber 9 Uhr.« to mark the anniversary of the consecra- Januar 1766, an dem die beiden Kinder long tour (it began on June 9, 1763 and Die erst in der sechsten Aufl age des tion of archbishop Sigismund von in Den Haag ein Konzert im Hotel »De Köchel-Verzeichnisses auftauchende Schrattenbach following a play by Carlo Oude Doelen« geben. Konzertarie »Cara, se le mie pene« Goldoni staged in his honour. The “Salz- Kurz nach der Rückkehr von der ers- KV deest lässt sich nicht sicher datie- burg Court Diaries” state: “(...) the ten langen Reise durch Westeuropa (sie ren, entstand aber wohl in Salzburg, ver- Licenza consisted of a recitative and begann am 9. Juni 1763 und endete am mutlich ca. 1769. Die Orchesterbeset- aria, music composed to the admiration 29. November 1766) komponierte zung sieht außer dem erwartungsgemä- of all by the young Mozard Wolfgang, Mozart am 21.
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    EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 First published in 2001 by Primary Source Microfilm. Primary Source Microfilm is an imprint of the Gale Group. Gale Group is a trading name of Gale International Limited. This publication is the copyright of Gale International Limited. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. PRIMARY SOURCE MICROFILM PRIMARY SOURCE MICROFILM 50 Milford Road 12 Lunar Drive Reading Woodbridge Berkshire RG1 8LJ Connecticut 06525 United Kingdom U.S.A. CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro.
  • ARTASERSE Pietro Metastasio Leonardo Vinci

    ARTASERSE Pietro Metastasio Leonardo Vinci

    ARTASERSE Dramma per musica. testi di Pietro Metastasio musiche di Leonardo Vinci Prima esecuzione: 4 febbraio 1730, Roma. www.librettidopera.it 1 / 63 Informazioni Artaserse Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.