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Cosi fan Tutte in Full Score
Cosi fan Tutte in Full Score
Cosi fan Tutte in Full Score
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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.

LanguageEnglish
Release dateJun 17, 2013
ISBN9780486319308
Cosi fan Tutte in Full Score

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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

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