Cosi fan Tutte in Full Score
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Translated from the Italian, Cosi fan tutte means "That's how all women act"; the libretto, the last of three Lorenzo da Ponte wrote for Mozart, concerns the behavior of women, particularly the behavior of young women in the throes of romantic love. Are they fickle? Are their affections mutable? Their virtue flexible? In Cosi fan tutte, Mozartand Da Ponte answer with resounding affirmatives.
In the nearly 200 years since it was first performed at the Burgtheater in Vienna, Cosi fan tutte has waxed and waned and waxed again in popularity. The music, with its richness of melody, harmony, and texture, and its perfection of form, has never been considered less than brilliant. The libretto, however, has not been as well received as evidenced by attempts in the 19th century to "improve" it, making it more possible to the overly decorous sensibilities of the Victorians.
In examining the reaction of 19th-century opera goers, the noted British composer, conductor, and musicologist Spike Hughes laments, "The opera must indeed have seemed to them sadly untypical of the Divine Mozart, who not only seemed to enjoy this trivialities, not to say indecencies, of an exquisitely constructed libretto, but even went so far as to squander an unending stream of lovely music on worthless characters and contemptible situations."
The "worthless" characters are Ferrando and Guglielmo, two Italian army officers in love with two Neapolitan sisters, Fiodiligi and Dorabella. The "contemptible" situation is a wager and the comedy of deception that ensues: bragging of their ladies' fidelity, the two officers are challenged by a sage but cynical Don Alfonso who declares, "The faithfulness of woman is like the phoenix: everybody has heard about it, but nobody has ever actually seen it."
In the 20th century Cosi fan tutte has once again secured its rightful and prestigious place among the world's great operas. This volume, containing the full score with Italian and German text, is reproduced from one of the most complete, accurate, and scholarly editions available. It also contains a new translation of the German editors' frontmatter and critical commentary, which includes a review of dubious passages and text problems. Beautifully and clearly engraved, this modestly priced edition of Cosi fan tutte will be welcomed by musicians, students, and all opera lovers.
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Cosi fan Tutte in Full Score - Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart
COSÌ FAN TUTTE
in Full Score
Dover Publications, Inc.
New York
Aus rechtlichen Gründen darf dieses Werk nicht im Gebiet der Bundesrepublik Deutschland und West-Berlin angeboten und/oder verkauft werden.
For legal reasons this title cannot be offered or sold in Federal Republic of Germany and West Berlin.
Copyright © 1983 by Dover Publications, Inc.
All rights reserved under Pan American and International Copyright Conventions.
This Dover edition, first published in 1983, is an unabridged republication of the edition by Georg Schünemann and Kurt Soldan, with German translation of the vocal text by Georg Schünemann, originally published by C. F. Peters, Leipzig, n.d. (publication number 11467; editorial matter dated Summer 1941
). In the present edition all the preliminary matter and the Editors’ Commentary (Revisionsbericht), originally in German, appear in a new English translation specially prepared by Stanley Appelbaum.
Manufactured in the United States of America
Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y. 11501
Library of Congress Cataloging in Publication Data
Mozart, Wolfgang Amadeus, 1756–1791.
[Così fan tutte. German & Italian]
Così fan tutte.
Opera.
German and Italian words.
Libretto by Lorenzo Da Ponte.
Originally edited by Georg Schünemann and Kurt Soldan ; German translation of libretto by Schünemann ; editorial matter translated into English by Stanley Appelbaum.
Reprint. Originally published: Leipzig : C. F. Peters, 1941.
1. Operas—Scores. I. Da Ponte, Lorenzo, 1749–1838. II. Title.
M1500.M84C542 1983 83-5140
ISBN 0-486-24528-4
COSÌ FAN TUTTE
Composed in 1789/90. First performed at the National Court Theater
in Vienna on January 26, 1790, under the composer’s direction.
__________________________________________________
INSTRUMENTATION
2 Flutes (Flauti) – 2 Oboes (Oboi) – 2 Clarinets (Clarinetti) – 2 Bassoons (Fagotti)
2 Horns (Corni) – 2 Trumpets (Trombe) – 2 Kettledrums (Timpani) – Violins (Violini) I & II
Violas (Viole) – Cellos (Violoncelli) – Basses (Contrabassi)
ON STAGE
1 Snare Drum (Tamburo militare)
Contents
Ouvertura
ATTO PRIMO (FIRST ACT)
No. 1. Terzetto
Ferrando, Don Alfonso and Guglielmo
La mia Dorabella capace non è
No. 2. Terzetto
Ferrando, Don Alfonso and Guglielmo
È la fede delle femmine
No. 3. Terzetto
Ferrando, Don Alfonso and Guglielmo
Una bella serenata
MUTAZIONE (CHANGE OF SCENE)
No. 4. Duetto
Fiordiligi and Dorabella
Ah guarda sorella
No. 5. Aria
Don Alfonso
Vorrei dir
No. 6. Quintetto
Fiordiligi, Dorabella, Ferrando, Don
Alfonso and Guglielmo
Sento, o Dio, che questo piede
No. 7. Duettino
Ferrando and Guglielmo
Al fato dan legge quegli occhi
No. 8. Coro
Chorus
Bella vita militar
No. 9. Quintetto 〈e Coro〉
Fiordiligi, Dorabella, Ferrando, Guglielmo,
Don Alfonso and Chorus
Di scrivermi ogni giorno
No. 10. Terzettino
Fiordiligi, Dorabella and Don Alfonso
Soave sia il vento
MUTAZIONE (CHANGE OF SCENE)
No. 11. Aria
Dorabella
Smanie implacabili
No. 12. Aria
Despina
In uomini, in soldati
No. 13. Sestetto
Fiordiligi, Dorabella, Despina, Ferrando,
Don Alfonso and Guglielmo
Alla bella Despinetta
No. 14. Aria
Fiordiligi
Come scoglio immoto resta
No. 15. Aria
Guglielmo
Non siate ritrosi
No. 15a. Aria
Guglielmo
Rivolgete a lui lo sguardo
No. 16. Terzetto
Ferrando, Guglielmo and Don Alfonso
E voi ridete
No. 17. Aria
Ferrando
Un’ aura amorosa
MUTAZIONE (CHANGE OF SCENE)
No. 18. Finale
Fiordiligi, Dorabella, Despina, Ferrando,
Don Alfonso and Guglielmo
Ah che tutta in un momento
ATTO SECONDO (SECOND ACT)
No. 19. Aria
Despina
Una donna a quindici anni
No. 20. Duetto
Fiordiligi and Dorabella
Prenderò quel brunettino
MUTAZIONE (CHANGE OF SCENE)
No. 21. Duetto con Coro
Ferrando, Guglielmo and Chor
Secondate aurette amiche
No. 22. Quartetto
Despina, Ferrando, Guglielmo and Don
Alfonso
La mano a me date
No. 23. Duetto
Dorabella and Guglielmo
Il core vi dono, bell’ idolo mio
No. 24. Aria
Ferrando
Ah lo veggio quell’ anima bella
No. 25. Rondo
Fiordiligi
Per pietà, ben mio
No. 26. Aria
Guglielmo
Donne mie la fate a tanti
No. 27. Cavatina
Ferrando
Tradito, schernito
MUTAZIONE (CHANGE OF SCENE)
No. 28. Aria
Dorabella
È amore un ladroncello
No. 29. Duetto
Fiordiligi and Ferrando
Fra gli amplessi
No. 30. Andante
Ferrando, Don Alfonso and Guglielmo
Tutti accusan le donne
MUTAZIONE (CHANGE OF SCENE)
No. 31. Finale
Fiordiligi, Dorabella, Despina, Ferrando,
Don Alfonso, Guglielmo and Chorus
Fate presto o cari amici
Supplement
Ending in MS of Recitative, p. 339
Second Version of Recitative, p. 348
Preface
In a time of extreme financial distress, when Mozart was barely managing to contend with his pressing cares, Emperor Joseph II commissioned him to write a new comic opera. The librettist was to be Lorenzo da Ponte, who was