MOZARTCOMPLETEEDITION

Linernotes,sungtexts(p.63),fulltracklist(p.239)

Linernotes

WolfgangAmadeusMozartwasborninSalzburgon27January1756.His
father Leopold was a violinist, composer and voracious intellectual, but
there was musical ancestry on his mothers side also, her father having
sung bass at Salzburgs St Peters Abbey and taught singing at its school.
Leopoldisoftencriticisedforhisoverbearingmannertowardshisson,but
hedeservescreditforreducinghisownambitionsassoonasherecognised
Mozartsphenomenalgifts.

Between 1762 and 1769 he embarked upon a succession of European

tours,intendingtoshowcasehissonstalents(onviolinandkeyboard)and
those of Wolfgangs older sister Nannerl (keyboard and singing). This
period of extensive travel, in addition to subsequent tours during the
1770s, provided Mozart with an unorthodox but invaluable musical
education, as he was able to hear works by Johann Christian Bach and
other established composers of the day, thus acquiring the basis for the
development of his own personal style. Like his father, Mozart was
employed by Archbishop Colloredo of Salzburg, but their stormy
relationship ended in 1781, when the 25yearold composer decided to
escapetheparochialattitudesinSalzburgandpursueafreelancecareerin
Vienna.Thefollowingyear,theyearofhismarriagetoConstanzeWeber,
hebecamefamiliarwiththesacredmusicofJ.S.BachandHandel.

Mozarts initial success in Vienna was largely due to his appearances as

composer/soloist in a succession of new piano concertos, although this
phenomenallyindustriousandversatilecomposerwroteavastnumberof
othermajorworksduring178191includingstringquartetsandquintets,
the quintet for piano and wind, symphonies and several operas. The
renowned fickleness of the Viennese audiences was underlined when his
operaTheMarriageofFigarometwithonlymoderatesuccessin1786.By
contrast,itsreceptioninPraguewastriumphant(everyoneleapingabout
in sheer delight, as the composer put it), leading directly to the
commissionofDonGiovanni.NowonderMozartwasespeciallyfondofthe
Pragueaudiences.

Eventually,attheendof1787andaftermanyyearsofhopingforofficial
employment, Mozart was appointed Imperial Chamber Composer to
JosephII,followingthedeathofChristophWillibaldGluck.Thoughnotthe
mosthighprofileposition,thiswassignificantrecognition,onewhichthe
composer was to enjoy until the Emperors death in 1970. By the end of
thefollowingyearMozartwasseriouslyillpartlythroughexhaustiondue
to obsessive overwork, but the cause of his death on 5 December has
never been conclusively established; symptoms included swelling of the
limbs and acute fever. Some of the numerous myths about his life (not
least about his death) have been sustained by a Pushkin play, a Rimsky
KorsakovoperabasedonPushkin,andAmadeus,a1979PeterShafferplay
which became an awardwinning film directed by MilosForman. In many
respects a highly distorted account of Mozarts life, Amadeus is best
regardedasfiction.

Symphonies
Mozartwasstillonlyaboutnineyearsoldwhenhecomposedhisearliest
symphonies.Whileinafewoftheseheadherestothethreemovement,
Italianstyleform,hesooncametofavourthefourmovementstructure
including a minuet, and early as his 18th year he composed his first
masterpiece in this genre: Symphony No.25 in G minor, which was very
soonfollowedbyanotherbrilliantlyindividualwork,No.29inAmajor.The
outstanding sequence from No.30 onwards culminated in four profound
masterworks: No.38 (Prague) and the final, wonderfully diverse trilogy

Nos.3941.ThecontrapuntaltourdeforcethatformsthefinaleofNo.41
represents an innovatory shift in the balance of symphonic form,
transferringthegreatestweightfromfirstmovementtolast.

Concertanteworks
MostimportantamongMozartsworksforsoloinstrumentandorchestra
arethepianoconcertos,agenrethatheraisedtoanewartisticlevel.The
dozen or so finest of them form a body of work that surpasses even his
symphonicachievement.

Apart from the wonderful Concerto in E flat K271, the most outstanding
examplesdatefromMozartsVienneseperiod.Duringtheyears17846he
composedawonderfulsuccessionof12concertosbeginningwithK449
eight of them completed between February 1784 and March 1785. Even
moreremarkableistheirdiversity,eachworkbeingstrikinglyindividualin
character.Untilthemid20thcenturyonlytwoorthreeofMozartspiano
concertoswerewellknown,butnowadaysthemanyothergreatexamples
arewidelyappreciated.Amongthemcanalsobefoundafineworkfortwo
pianos(K365)andoneforthreepianos(K242).

Mozarts string concertos include works for violin (delightful concertos

composed during his teenage years), violin and viola (the Sinfonia
ConcertanteK364,oneofthegreatestworksfromhisSalzburgyears),and
two violins. In the wind concertos, for bassoon, horn (four completed
works),flute,fluteandharp,oboeand,aboveall,clarinet,Mozartshowsa
deep understanding of each instruments character and technique. The
authenticityofanotherSinfoniaConcertanteforfourwindinstruments,
K297bhasbeenquestionedbysomescholars.

Serenades,divertimenti,dancesetc.
Mozartcomposednumerousserenades,divertimenti,dancesandmarches
genresthatarelooselycategorisedasmereentertainmentmusic,though
they are by no means short of masterpieces by the composer. The
substantial list of orchestral serenades and divertimenti more than 30
worksbeginswiththe17movementpotpourriGalimathiasMusicumK32
and continues with the cassations K63 and K64. Among the finest of the
mature orchestral serenades are the Posthorn Serenade K320 (with a
particularly impressive opening movement), the celebrated Eine kleine
Nachtmusik K525 and the Serenata Notturna K239. The more extended,
eightmovement Haffner Serenade includes a selfcontained violin
concerto, while A Musical Joke K522 is a merciless lampoon of thirdrate
composers and performers. Two beguiling examples of the 16yearold
MozartsgeniusarethestringDivertimentiK136and137.Supremeamong
MozartsserenadesarefourgreatwindcompositionsK361,K375,K388
and K406 magnificent works that transcend their original function as
entertainmentmusic.

Mozarts passion for dancing is reflected in the dance rhythms that

sometimescharacterisehisconcertworks.Alargeproportionofhismusic
specifically intended for dancing dozens of contredanses, minuets,
Germandancesetc.datesfrom178791,writtenfortheannualcarnivals
aspartofhisdutiesatthecourtofJosephII.

Chambermusic
Mozarts chamber music with strings includes string quartets, string
quintets(withtwoviolas),pianoquartets,pianotrios,andduosonatasfor
piano and violin. Although Mozart is generally regarded as a perfecter of
existing genres rather than an innovator, his string quintets and the two
superbpianoquartetsarethefirstimportantworksoftheirkind.13early

95010MozartCompleteEdition
1


stringquartetsareinevitablyovershadowedbythe10famousquartets
beginning with K387 but even these wonderful worksare surpassed by
thelargescaleDivertimentoforstringtrioK563andthefivematurestring
quintets.Sixofthepianotriosareveryearly,butthelastfour,allmature
and attractive works, are often underrated. Mozart composed other
chamberworksfeaturingsoloflute,oboe,horn(aquintetincluding,rather
unusually,twoviolas)andclarinet(thesublimeClarinetQuintet,composed
fortheoutstandingAntonStadler).Therarecombinationofclarinet(again
forStadler),violaandpianoinspiredMozarttowriteasubtlemasterpiece,
the socalled Kegelstatt Trio K498, while the Quintet K452 for piano and
windisanothermarvellousworkforunusualinstrumentation.

Many of the 30 or so sonatas for piano and violin remain under

appreciated, while others, such as the passionate E minor Sonata K304
havealwaysbeenpopular.Likethematurepianotrios,manyofthelater
sonatasareofveryfinequality.Otherchamberworksincludeagroupof
earlyflutesonatas,twosuperbduosforviolinandviola,12duetsfortwo
horns,andalateworkthatincludestheglassharmonica.

Keyboardworks
Mozart composed 18 piano sonatas, of which a few, including the
emotionally disturbing A minor K310, the A major K331 (with Turkish
Rondo) and the C major Sonata K545 (for beginners), are extremely
popular. The Sonata in F major K533 (1788) is a particularly fascinating
example of what has been described as Mozarts new imperial style, its
surface simplicity concealing technical sophistication and intellectual
mastery.TwoofthefinestworksfortwopianosaretheFugueinCminor
(alsoarrangedforstrings,K546,withprecedingAdagio)andtheSonatain
D major K448. Mozarts other miscellaneous keyboard compositions
includemorethanadozensetsofvariations,improvisatoryandprofound
fantasias in minor keys, and the wonderful Rondo in A minor K511 and
AdagioinBminorK540.Therearealsoafewsonatasforpianoduetand
somepiecesfororgan.

Vocalmusic
Although Mozarts songs are more rarely performed than Schuberts and
even Beethovens, they include some real gems. The touching Das
Veilchen, a Goethe setting, is the most famous, but other outstanding
examples include the dramatic Als Luise die Briefe ihres ungetreuen
Liebhabers verbrannte and Abendempfindung, both from 1787. Among
Mozarts other vocal compositions aresix Notturni for three solo voices
with basset horns/clarinets and numerous concert arias, some of which
includeobbligatoparts(piano,doublebassetc.).Mozartcomposedafew
Masonic works including cantatas, but the finest piece is the sombre,
purelyorchestralMasonicFuneralMusicK477.

Choralworks
Mozarts choral music consists entirely of religious works, nearly all
composed for Salzburg liturgical use. While the finest from the Salzburg
periodarethesocalledCoronationMassK317andtheVesperaesolennes
de confessore K339, his early masses and other sacred works are greatly
overshadowed by the masterly C minor Mass K427 and the profound
RequiemMassK626themostwidelyperformedofMozartsmajorchoral
works, both incomplete. Among the shorter works, the motet Ave verum
corpus K618 stands out as a particularly beautiful miniature. Another
famousmotet,thebrilliantExsultate,jubilateK165,datingfrom1773,was
originallywrittenforacastrato.

Operas
Mozart completed 18 operas. His earliest works within the genre are
Apollo et Hyacinthus, La finta semplice and Bastien und Bastienne, all
composedduring17678.Theycontain,especiallyintheensembles,hints
of that depth of characterisation with which Mozart endows his great
mature operas, but the opera seria Idomeneo already, by 1781, his 11
operatic venture is the first masterpiece. The belatedness of its British
premiere(1934)isoneofmanyexamples(seealsoCosfantuttebelow)of
how Mozarts reputation continued to be reassessed during the 20th
century.DieEntfhrungausdemSerailfollowedsoonafterIdomeneo.

Inhabited by the first manysided, complex and wholly believable

charactersinoperatichistory,thelateoperasareMozartsgreatestworks,

ones whose expressive range and dramatic effectiveness exerted an

immeasurable influence on the history of the genre. Of them, The
MarriageofFigaro,DonGiovanniandTheMagicFluteremainamongthe
most frequently performed operas around the world: Figaro is both
brilliantly witty and warmhearted; Don Giovanni (comedy or tragedy?)
dangerousandoverwhelming;andTheMagicFluteafascinatingsynthesis
ofpantomimeandallegory,itsmusicarichlyvariedmixturerangingfrom
melodiesoffolklikesimplicitytosolemn,ritualisticpiecesincludinganold
fashionedLutheranchorale.Cosfantutte,writtenbetweenDonGiovanni
and The Magic Flute and equally revealing of human nature in all its
aspects,wasneglecteduntilthe20thcentury.WhoelsebutMozartcould
have transcended the apparent frivolity of its plot, persuading us to
identify with the protagonists fluctuating emotional states? Like The
MagicFlute,theoperaseriaLaclemenzadiTitodatesfromMozartsfinal
months, but was neglected for even longer than Cos. Les petits riens
(1778)isMozartsonlyballetscore,thoughhedidcomposeanimpressive
sequenceofballetmusicforIdomeneo.
PhilipBorgWheeler

SYMPHONIES(CD111)
Symphonies1,4,5,6&45SymphonyK19a(CD1)
The symphony today has evolved far from its original description of an
orchestral piece, selfcontained and preceding or played during a piece of
choral music. The greatest development of the modern symphony took
placeduringthe19thcentury,specificallyafterthegroundbreakingnature
ofBeethovensSymphonyNo.9(Choral),wherethecomposerunitedthe
purely orchestral opening three movements with a choral finale, paving
thewayforsuchhybridworksasMendelssohnsLobgesangsymphony/
cantata and Mahlers Symphony No.8, the Symphony of a Thousand.
Equally, although the classical symphony is associated with a four
movement plan and an opening movement in sonata form, later works
havevariedfromasinglemovement,suchasSibeliusSymphonyNo.7,to
multimovementandlooselystructuredworkslikeMessiaensTurangalla
Symphonie.

Someoftheearliestrecognisableandindependentsymphoniescamefrom
the pens of Giovanni Battista Sammartini (17011775), who composed
over 70 works in Milan in the Baroque style, and the Lucca born Luigi
Boccherini,whocomposednearly30ofhisownsymphoniesinthe1780s
and1790s.Meanwhile,inAustria,MathiasMonn(17171750)wrotestring
symphonies and a D major symphony, exceptionally scored for an
orchestra of violins, cellos, basses and flutes, horn and bassoon. Already
the convention of the symphony as a work merely for strings had been
broken and the standard symphony orchestra had begun to grow. Monn
led a new generation of symphonic composers in Austria that included
Gassmann (17291774), Hofmann (17381793) and Dittersdorf (1739
1799).Afurthermajorinfluence,particularlyonbothHaydnandMozart,
was the so called Mannheim School, a group of musicians under the
patronageoftheElectorofthatcity,CarlTheodor,whoformedthefinest
orchestra of the day and encouraged his composers to experiment with
orchestralsonorities.ThecomposersofthecourtincludedStamitz,Richter
and Holzbauer. By 1764, when Mozart produced his first symphony in
London(K16),theformhadtakenholdacrossnorthernEurope.Gonewas
theconventionaloperaticthreepartoverturethesymphonyhadbecome
anindependentorchestralpiece.Mostimportantofall,ithadfoundfavour
in the hands of Joseph Haydn who had already embarked upon the
compositionofhisgreatseriesof104works.Itwasthereforenaturalthat
theyoungMozartshouldbegintocomposeto(oradapt)examplesofthe
work.

Thesymphonyatthisstagewasstillbasicallyathreemovementform,as
thepreviousoperaticsinfoniahadbeenandindeedastheconcertowasto
remain for some time. This structure created a balanced, ternary
composition, opening and closing with fast movements and containing a
centralpointofreposeinanAndante.Itwasnotuntilsometimelaterthat
Mozart, like Haydn, would move to a fourmovement form including a
minuet as the third movement, although the Austrian composer Mathias
GeorgMonnhadalreadytriedthisformulaasearlyas1740.

95010MozartCompleteEdition
2


TheMozartsarrivedinLondonin1764followingastayinParis,andsettled
inEburyStreetinChelsea.YoungWolfgangsfirstsymphonywashisK16in
E flat, composed when he was just eight years old and first played at a
concert in the Haymarket in February 1765, together with other
symphonies by the composer. These early works demonstrate the
influenceoftheVienneseandItalianschools,aswellasthecompositions
of Johann Christian Bach, and derive much of their effect from the
contrasts between forte and piano dynamics a technique that was to
remainoneofMozartshallmarksthroughouthiscareer.Thestyleofthe
operabuffaoverturewastopredominateinalloftheseearlyworksright
uptoSymphonyNo.10K74.

TheSymphonyK19aisonlyarecentdiscoveryandwasfoundtohavebeen
copied out by Mozarts father Leopold on French paper, which could
suggest that it was written on paper taken from Paris or that it was
perhaps a later composition dating from after their period in London,
althoughthetitlepagestatesitwaswrittenbyMozartattheageofnine.
AlthoughJ.C.Bachwasanobviousinfluenceontheseearlyworks,Mozart
hadalsofallenunderthespelloftheGermancomposerCarlFriedrichAbel
andthesymphonyoriginallyknownasK18waslaterfoundtobebyAbel
himself.TheMozartsleftLondonfortheHagueanditwastherethatthe
Symphony No.5 in B flat K22 had its first performance. By the time of
SymphoniesNos.6and7(K43andK45),Mozarthadbegunwritingusing
the fourmovement structure that would be the typical form of both his
laterworksandthoseofhisgreatmentor,Haydn.TheK45symphonylater
becameanoverturetohisearlyoperaLafintasemplice.

Symphonies8,9,10,12&13(CD2)
It is difficult to know whether Leopold Mozarts (17191787) attitudes
towards and treatment of his two young children was one of
encouragement or of exploitation. What is certain is that he introduced
bothWolfgangandhissisterMariaAnnatothecourtsofEuropeandtothe
musicofthetimeatanagethatwouldnowseeminappropriatelyyoung.
Youth, however, was no respecter of genius in the case of Wolfgang and
theremaywellbeanexcusefortreatingachildprodigyinadifferentway
toordinaryoffspringinourowntime.

TheMozartfamilythussetoutonaseriesofjourneysacrossEuropeboth
fortheeducationofthechildrenandforLeopoldtobenefitcommercially
from the musical aptitude of his son and daughter. The first of these
journeyswastotheCourtoftheElectorMaximillianinMunich,althoughat
thisstageWolfgangwasonlysixyearsold.Nevertheless,hewaspresented
asachildvirtuosoandonlysixmonthslater,intheautumnof1762,during
atriptoVienna,hehadbecomeachildcomposer.Itwasonthisjourney
that Mozart contracted the scarlet fever that was to affect his health for
the rest of his life. After his recovery, the family moved on to Pressburg
whereMozartwasintroducedtocentralEuropeanfolkmusic,althoughit
hadlittlefutureinfluenceonhim.

Itwas,however,on9June1763thatthefamilybeganthemostmajorof
their tours to date a journey that would ultimately lead to France and
England,andfromwhichtheywouldnotreturntoSalzburguntiltheendof
1766. The London of the time had a musical patron in Queen Charlotte
who employed the two major composers of the day, Karl Friedrich Abel
(172587) and Johann Christian Bach (173582). Mozart was initially
impressedbythesymphoniesofAbelbutwasultimatelytoadoptJ.C.Bach
asbothamentorandasafriend,aninfluencethatalmostrankswithhis
uncriticalloveandrespectforHaydn.

Mozarts stay in London followed five months in Paris, where the young
composerhadabsorbedelementsoftheFrenchstyleunderthetutelageof
Johan Schobert, musician to the Prince Conti. London, however, became
thefamilystemporaryhomeforawhole16months,wherethesevenyear
oldMozartstudiedwithmanyfamousmusiciansofthetime,includingthe
ItaliansPesceti,ParadisiandGaluppi.TheperiodinLondonwitnessedthe
composition of Mozarts first symphonies and a series of chamber works
andsonatas.

After his trip and whilst in Vienna, Mozart composed his Symphony No.8
(K48),whichisdated13December1768.Thisisasurprisinglyfestivework
and includes parts for both trumpets and drums. Not only can this be

consideredoneofMozartsfirstmaturesymphonies,italsoshowsmany
similaritieswiththesymphoniesofhiseldercontemporary,JosephHaydn.
Shortly afterwards Mozart composed a brilliant Symphony in C (K73),
confirminghisgrowthfromacomposerofworksinthestyleofovertures
to a true symphonist. The following Symphony No.10 (K74) is in G major
andwrittenonthepaperthatMozartusedonhisjourneytoRomeinApril
1770, where he had travelled as part ofa series of three Italian journeys
that lasted intermittently from 1769 until 1773. It was during this period
that Mozart embarked upon his almost revolutionary (for the period)
oratorioorazioneteatraleLabetuliaLiberata.Itwaswiththisworkthat
MozartenteredintothespiritoftheGermanRomanticmovementSturm
undDrang,whichwasalsoasignificantinfluenceonHaydn.

The Symphony No.12 in G (K110) bears a link with the much later
SymphonyNo.32inG(K318)andwascomposedonthecomposersreturn
to his home town of Salzburg in 1771. The following fourmovement
Symphony No.13 in F (K112) dates from a journey to Milan in November
1771.Meanwhile,animportantandmoresignificanteventinMozartslife
was taking place the old Archbishop of his home town Salzburg,
SigismundvonSchrattenbach,diedinDecember1771andwasreplacedby
Mozarts cantankerous new patron, Archbishop Colloredo, who was to
haveaharsheffectontheyoungcomposerslifeinthefuture.

Symphonies1417(CD3)
Mozarts father Leopold was himself a composer of some note, who
quicklyrecognisedthegiftsofhistwochildrenandwasdeterminedtogive
them every opportunity to shine as piano virtuosi, composers and, in
Mariascase,asinger.Hecouldhardlyhaveknownthathissonwouldturn
outtobeperhapsthemosttalentedofallmusicalprodigiesandoneofthe
undisputedmastersofmusic.Leopoldsetabouttrainingandexposinghis
children to the musical houses and palaces of Europe by taking the
youngstersonexhaustingandgruellingtoursofthecontinentsgreatcities
Paris,London,MannheimandViennatomentionafew.Butitwasalways
to Salzburg that they would return in those earlyyears and it was to the
ArchbishopsofSalzburgthatWolfganghadtolookforcommissionsanda
formofpermanentemployment.

Inthe18thcentury,Austriawasaverydifferentplacetothesmallalpine
country of that name today. It was one of the major powers of Europe,
together with England and France, and the seat of an Empire that
consistedofGermanspeakers,SlavsandHungariansstretchingfarfurther
to the east and with a far broader cultural base than it does now. The
EmpirewasruledfromViennabyaseriesofHabsburgrulerswho,although
theyhadbecomeliberalisedwiththedaysofMariaTheresaandLeopold,
still remained one of the most conservative ruling houses of Europe.
Despite this, liberal movements were to grow, nationalism was soon to
becomeadrivingforceandtheculturallifeofthecountry,basedaround
thecentreofVienna,wouldbecomeoneofthemostflourishinginEurope.
Outsidethecapital,oneofthemajorculturalcentreswasdevelopinginthe
small,BaroquejewelthatwasSalzburg,ruledasitwasbyitsArchbishops.

During the 1770s Mozart had a place in the Salzburg Court orchestra,
whichaccordingtosomecommentatorswasafinegroupofmusiciansbut
which Mozart himself found severely wanting. In the early days of his
employmenthewasexpectednotonlytoplaybutalsotocomposeforthe
seeminglybenevolentArchbishopSchrattenbach,anditwasnotuntilafter
the old Archbishops death in December 1771 (one day after Mozarts
returntothecity)thathecameunderthecontrolofthemansoontobe
hisarchenemy,ArchbishopColloredo.

Despite the many tales of dislike and outright rebellion against his new
master, things began well enough for Mozart under his new patron.
Colloredo was both sensitive and highly musical in his own way and that
Mozartwasawareofthisandthepossibilitiesofhisnewemploymentwas
clearfromthegroupofworksheproducedforhisnewemployeroveran
amazingly short period of time. Between 30 December 1771 and August
1772 Mozart presented his new master with no less than eight
symphonies, before leaving Salzburg for Italy to concentrate on his new
opera Lucio Silla. Not surprisingly, Colloredo was impressed and in that
AugustgaveMozartnoticeofhisnewpermanentsalary.

95010MozartCompleteEdition
3


Four of those eight symphonies appear on this disc, all as usual in major
keysoneinAmajor(SymphonyNo.14K114),oneinCmajor(Symphony
No.16K128)andtwoinGmajor(SymphoniesNos.15K124and17K129).
Thefirstofthese,SymphonyNo.14,isacharmingandparticularlydelicate
workinfourmovements,withtwoAllegrosframingaslowmovementand
minuet,ashadnowbecometheacceptedformforMozartandHaydn.Its
original autograph score was held in the Prussian State Library, but has
sincebeenlost,anddatesfromtheendof1771,thebeginningofMozarts
servicetoColleredo.TheSymphonyNo.15(K124)followedinFebruaryof
the next year and again is in four movements, showing the general
progressinMozartswritingofthetime.Thetworemainingsymphoniesin
this group revert to the more Italian threemovement form of Allegro
Andante Allegro and bear resemblances to contemporary works by
SammartiniandJ.C.Bach,bothbearingthedatesofMay1772.

Symphonies2023(CD4)
To the casual listener of Mozarts music,it may seem as if the composer
left a rather impressive 41 symphonies but, in fact, the official numerical
listingoftheseomitsmanyoftheearlyworksthatwereeitherdiscovered
atalaterdateorconsideredtobeoverturesinthethreemovementItalian
style.Itisbynomeansunusualtohaveconfusionoverthenumberingofa
composers works Dvork was at one time credited with only five
symphoniesinsteadofnineandthenumberingofSchubertssymphonies
canstillcauseconfusiontoday.

Mozarts catalogue of works does not follow the usual pattern of opus
numbersforeachpieceorcollection,andwasfirstcomprehensivelylisted
by his compatriot Koechel, published by Ludwig Ritter in 1862. Koechels
cataloguelistedalltheworksbythecomposerknowntohimatthetime
andinwhathebelievedtobetheirchronologicalorderrangingfromthe
first harpsichord work up to the final, unfinished Requiem of 1773. A
second edition was prepared by Paul von Waldersee in 1905 and then a
third substantially revised version was made by Alfred Einstein in 1936
wheretheneweditoraddedrecentlydiscoveredworksandevenchanged
thenumberingsofsomeofthepreviouslyknownpiecestogetherwithan
appendixoflostworksinanonchronologicalorder.Amorerecentedition
was published in 1964 and thus some of the works now have more than
onenumber.Theeffectofthiscataloguingandrecataloguingalsomeans
thattheadditionalearlysymphoniesaresometimesgiventhenumberings
of 42 to 50 despite being much earlier works. The four works on this
present disc can be considered to be relatively mature works in the
symphoniccanonandalldatefromtheperiodbetweenJuly1772andMay
1773,whilstMozartwasresidentinSalzburg.

ThefirstofthesymphoniesonthisdiscistheSymphonyNo.20inD(K133),
written in July 1772. The work isin Mozarts festive vein and opens with
flourishesontimpaniandwinds;thefirstmovementalsocontainsoneof
Mozartsmostsuccessfuldevelopmentstodate.Theslowmovementisa
twopartAndantescoredforstringswiththeadditionofaflutesoloist.The
third movement is a Minuet in fast time with a contrasting trio section
notableforitscounterpoint,andtheworkendswithanenergeticAllegro
in12/8timethatseemstorushnonstopwithoutpausetoitsexhilarating
conclusion.

The Symphony No.21 in A (K134) was completed only a month after its
predecessor, in August 1772. The opening Allegro is virtually
monothematic, resembling Haydn, and has an eighteenbar coda before
the opening melody of the Andante begins, with its echoes of Gluck. A
Minuetfollows,beforethedancelikefinalAllegroinsonataformrounds
offthework.

SymphonyNo.22(K162)revertstothethreemovementoverturestyleand
isinthesimplekeyofCmajor.KoecheldatestheworkasfromApril1773
although the autograph is illegible. This is a particularly simple
composition, echoing that festive nature of the earlier D major work as
well as the open air feel of some of the contemporary Serenades.
Similarly, the Symphony No.23 in D (K181) that concludes this disc is
anotheroverturestylework,withthethreemovementsallplayedwithout
a break. The opening Allegro spiritoso is just that, a typically brilliant
opening which then leads to the remarkable Andantino grazioso, which
becomessomethingofaminiatureoboeconcertointhestyleofaSiciliano,

fullofmelodyincontrasttotheopening bustle.Thefinalmovementisa
dancelike and cheery Rondo, bringing this short work to its Presto
conclusion.

Symphonies27,28&30(CD5)
ThethreesymphoniesonthisdiscrepresenttheendofMozartsseriesof
SalzburgSymphonies.AfterthecompletionofSymphonyNo.30inD(K202)
in May 1774, Mozart was not to write another symphony for four years
until June 1778. Indeed, he instead turned to writing a whole series of
shorterworks,chamberworks,serenadesandpianosonatas,aswellasthe
fine collection of violin concertos. The major work that comes from that
periodishisoperaorfestateatraleIlrepastore.

Asayoungman,Mozarthadacceptedcommissionsfromvariouspatrons
andspreadhisnetfarandwide,writingnotonlytheearlysymphonieson
thepreviousdiscsofthissetbutalsoventuringintothefieldsofsonatas,
concertosandchoralandvocalworkssuchaslafintasemplice,LaBetulia
liberata, the grand opera seria Lucio Silla and now the first of the great
comicoperasLafintagiardiniera.Hehadgainedexperienceworkingwith
andalongsidethecomposersofthedaysuchasAbelandJ.C.Bachandhad
progressed from writing symphonies in the Italian overture style to
establishing a typical sort of Austrian symphony that was to be the
standard blueprint for himself and Haydn for the next years. These final
worksoftheperiodweretorepresentanachievementwhich,forthetime
being at least, he felt he was unable to surpass or improve upon. It was
timeforachange.Someofthesymphoniesof1773representanelement
of perfection that mirrors the successes of the last six symphonies of his
career, particularly Nos. 25 in G minor and 28 in A (K183 and K200).
PerhapsitisfairtosaythattheSymphonyNo.27inG(K199)andthelater
Symphony No.30 in D (K202) are the exceptions here compared to the
Symphony No.28 in C and the other two works. Nevertheless, it is clear
thattheseworksmarkanewandmasterfulphaseofMozartscareerasa
composer.

TheSymphonyNo.27inG(K199)datesfromeither10or16April1773and
isanotherofMozartsworksintheItalianstyle,whichisperhapssurprising
amongstotherwisematuresymphonies.ItispossiblethatMozartwasnow
soinvolvedwithoperaticcommissionsthathemaywellhaveanticipated
suchauseforthepiece.Inthatrespect,thisworkithasitscousinsinthe
SymphonyNo.26inEflat(K184),aswellasK181andK182.

MozartsSymphonyNo.28inC(K200),however,belongstothatgroupof
threesymphoniesthatshowhismasteryoftheformatthisperiodthatis,
togetherwithSymphoniesNos.25inGminor(K183)and29inA(K201).
Althoughnotincludedonthisdisc,itisinterestingtonotethatMozarthad
nowbeguntocomposeasymphonyinaminorkey(K183),contrarytohis
usual choice of a major key. Symphony No.29 in A shows Mozart at his
mosteconomicalintermsoforchestration,simplyusingstrings,oboesand
horns.Themusicdemonstratesthecomposerhavinglearntthelessonsof
chambermusic,intensifyingtheargumentandopeninghisfirstmovement
with a passage for strings alone that is then repeated by the whole
orchestra.A new spirit is afoot here, and the individual instruments take
onmoreextremecharacteristics.ThecentralAndantehasthefeelingofa
string quartet with the addition of two pairs of wind instruments. The
Minuet that followsshows off the graceful nature of the dance against a
violencethatwouldnotbealientoearlyBeethoven,andthefinalAllegro
con spirito contains one of the most original and highly charged
development sections that Mozart had dared to write at this point in his
career.WiththissymphonyitisfairtosaythatMozarthadtraversedthe
longpathfromItalianoverturetotrueclassicalsymphony.

Mozartwas satisfied with hisA majorsymphony and was torepeat it on

furtheroccasions,unlikethelaterSymphonyNo.30inD(K202).Thisishis
finalSalzburgwork,composedbeforehisjourneytoParis.Despitebeingin
fourmovements,suggestinganelement ofprogression,Mozarthadlittle
newtosayhereandmuchoftheinfluenceoftheworkcomesdirectlyfrom
Haydn. Similarly, although the opening movement has some interesting
featuresitreliesverymuchonideasfrompreviouscompositions,whilethe
Andantino is scored for strings alone and the Minuet lacks any strong
originality. The final movement has links to the opening but lacks any
convincingargument.K202isperhapsthemostsignificantinitspositionas

95010MozartCompleteEdition
4


thefinalpartoftheseriesofSalzburgSymphonies,concludingtheperiod
upto1774.

SymphonyK111aSymphonies18,19&25(CD6)
The first of the symphonies on this disc, Symphony in D (K111a), comes
from Mozarts period in Italy (17691773) and is an example of the
composerreusinganoperaticovertureasasymphony,acommonpractice.
TheworkinquestionistheoverturetotheazioneteatraleAscanioinAlba
basedonatextbyMetastasio.TheoperawasfirstperformedinMilanon
17 October 1771 as part of the marriage celebrations of Archduke
Ferdinand and the Princess Maria Ricciarda Beatrice of Modena. The
adaptationmeantthatMozarthadtoreplacetheoriginalchoralendingof
theoverturewithanewpurelyinstrumentalmovementin3/8time.

Symphonies Nos. 18 and 19 (K 130 and 132) were composed after

ArchbishopSchrattenbachsdeathinDecember1771,andformedpartof
MozartsattempttoingratiatehimselfwithhisnewemployerArchbishop
Colloredo and secure his permanent post as Konzertmeister. The
Symphony No.18 in F (K130) is the far more substantial work, and
representsperhapstheearliestofMozartsgreatsymphonies.Itisinfour
movementsanddatesfromSalzburg,May1772.Thefirstmovementisin
sonata form and begins surprisingly quietly, followed by a serene slow
movement(Andantinograzioso)withmutedstrings.Thethirdmovement
isaMinuetandthesymphonyendswithafinaleinsonataform,toparallel
the opening. The Symphony No.19 in E flat, like its predecessor, calls for
four horns, two uniquely pitched in E flat alto, and was composed two
monthslater.Itisremarkablefortheunquietnatureofitsslowmovement
ratherthantheHaydenesquefacilityofitsfinale.TheSymphonyNo.25inG
minor(K183)isthefirstthatMozartwroteinaminorkeyanddatesfrom
the end of 1773. This is a particularly agitated work with a remarkable,
althoughshort,slowmovementandadarkandtroubledMinuet,matched
by a Trio section written for winds alone. The finale, as would become
common practice in the future, relates back to the opening Allegro and
suggestsanewdirectioninMozartssymphonicoutput.

Symphonies24,26,29&32SymphonyK196(CD7)
Something of a watershed can be noticed in Mozarts symphonic output
fromtheyear1773,whenhewrotenolessthansevensymphoniesbefore
hissubsequentfouryearbreakinsymphoniccompositionandjourneyto
Paris.Thefirsttwoworksonthisdisc(K182andK184)arewritteninthe
styleofItalianovertures.Thelatterworkinparticular,SymphonyNo.26in
E flat (K184), is a near masterpiece, with a concertolike opening
movement and a delightful C minor slow movement that contrasts with
thegeneralkeyofEflatmajor.Thecompanionwork,SymphonyNo.24inB
flat (K182), is a lesser piece that dates from October 1773, although its
datingwasalteredslightlywhenMozarttriedtoreintroduceitandsome
otherworkstotheViennesepublicseveralyearslater.

Mozart composed his comic opera La finta giardiniera in Salzburg and

Munich between 1774 and 1775 and its first performance took place in
Januarythatyear.Itwasnotasuccess,althoughrecentrevivalshavefound
moreinitthantheoriginalaudiencemayhavedone.Herevisedthework
into a German version (Die Gaertnerin aus Liebe) and took the overture
and added a third movement to make up an independent, if somewhat
lightweight,symphony(SymphonyinDK196).

The Symphony No.29 in A (K201) is another matter. Composed in April

1774,thisisasplendidlylyricalworkwithafineopeningmovementanda
slow marchlike Andante. The final Allegro con spirito is one of those
virtuosicmovementsthatspellsdelighttothelistenerandasenseofalarm
totheplayers.ThefinalworkonthisdiscisthepowerfulSymphonyNo.32
inG(K318)from1779,abrilliantlyorchestratedpieceinthreeinterrelated
movementswithalargewindsection,allofwhichseemstoprefigurethe
earlysymphoniesofBeethoven.

Symphonies33,34&35Haffner(CD8)
Two of the three works on this disc form part of a projected trilogy of
symphonies written back in Austria after Mozarts stay in Paris.
Symphonies Nos. 33 and 35 (K319 and K385) represent part of a project
Mozartwas obligedto write, aset of symphonies to be dedicated to the
prince of Fuerstenberg. The two symphonies mentioned were originally

published together by the Artaria publishing house in Vienna, the last of

Mozartssymphoniestobepublishedduringhislifetime.

TheSymphonyNo.33inBflat(K319)waswrittenbyMozartinSalzburgin
July1779onhisjourneybackfromParistoVienna.Theoriginalplanwas
forthreemovements,butwhenhecametorevisetheworklaterinVienna
(togetherwiththesubsequentSymphonyNo.34inCK338),hedecidedto
addaMinuetandTriomovementandthustransferredtheworksfromthe
three movement Italian style into what had now become seen as the
Viennese style. The earlier of the two symphonies is scored in a simple
manner with an orchestra of oboes, horns, bassoons and strings. The
openingmovementshowstracesofBeethoventocomeandthesymphony
as a whole was taken as something of a starting point by the younger
composer for his own Symphony No.8. The Andante moderato second
movementiswritteninEflatandrepresentsamomentofrestrainedpeace
with a recapitulation that states its main themes in reverse order. The
Minuet,addedlaterinVienna,remindsusagainofHaydnsinfluencewhile
thefinalPrestoisamovementofrarewitandracyhumour.

ForthesecondofthetwoSalzburgsymphonies,Mozartresortstothekey
ofCmajor,celebratoryyetsomehowneutral,andcontraststheworktoits
predecessor by using a large orchestra more in the style of the Paris
symphonyof1778.TheopeningAllegroisthesameinformastheearlier
work but the specific attempt at a French style has vanished and instead
there is energy and playfulness, with an oscillation between C major, E
minorandAflatmajor.ThesonglikeAndantedimoltothatfollowsrelies
only on bassoons as its wind soloists whereas the final Presto is an
expression of wit. The third movement Minuet, again added later in
Vienna,showsMozartwritingparticularlyvirtuosicsectionsfortheVienna
windplayers,whileaddingflutepartstotheentiresymphony.

Something remarkable and significant happened between the Salzburg

symphonies and the next work in Mozarts symphonic canon the
Haffner Symphony (K385). Not only did Mozart move to Vienna and
experience disagreements with his old patron, Archbishop Colloredo of
Salzburg,premieresoftworemarkableoperasbyhimhadalsotakenplace.
Idomeneo,performedinMunich,hadsomehowmanagedtoredefinethe
oldformofoperaseria,whiletheTurkishcomicfantasyofTheSeragliohad
receiveditsfirstperformanceinJuly1782,establishingatoncethesuccess
of the German Singspiel. Mozart had created his first two stage
masterpieces and his confidence in writing for the orchestra increased
demonstrably,becomingevermoreapparentinsubsequentworks.TheD
majorHaffnerSymphony(K385)isnotreallyanoperaseriasymphonyas
muchasanorchestralserenade,originallywithtwoMinuets.Thisisoneof
Mozarts warmest works, four movements full of geniality with a
marvellously virtuosic finale that Mozart stressed should be played as
quicklyaspossible.

Symphonies31Paris,36Linz&40(1stversion)(CD9)
Between1774and1778Mozartwrotenonewsymphonies,butby1778he
hadleftSalzburgandtravelledtoParis,wherehereceivedacommissionin
thesummerofthatyearfromJosephLeGros,theDirectoroftheConcerts
Spirituels. This was to be a symphony to celebrate the opening of the
CorpusChristicelebrations,writteninthecurrentParisianstyleforalarge
orchestra.TheworkisthefirstofMozartssymphoniestoincludeclarinets,
and is also scored for flutes, oboes, bassoons, horns, trumpets, timpani
andagenerousstringband.PariswasproudofitsorchestrabutMozartdid
notarriveunpreparedhehadalreadyworkedwiththegreatorchestrain
MannheimandwasreadyforthedemandsofParisiantastefromexposure
to the works of Stamitz and Gossec. Leopold, Mozarts father, may have
expressedconcernabouthissonscapabilitiestosatisfyParisiantastebut
Mozart was ready for the challenge and produced a large scale work of
bothFrenchgrandeurandtrueMozartianstyle.

TheParisSymphony(K297)isathreemovementworkandisprobablythe
grandestofMozartssymphonies.Therearecertainlystretchesofmusical
padding here and there, and it is significant that Mozart was deeply
unsatisfied with the original slow movement so composed a second
version as well as altering orchestration in the other movements.
Whatever present day opinion of the work may be, Le Gros was pleased

95010MozartCompleteEdition
5


and claimed the work to be the best of the symphonies written for his
orchestratodate.

TheLinzSymphony(K425)wascomposedinNovember1783intheNorth
Austrian city of that name whilst Mozart was returning from Salzburg to
Vienna and it is the first of the symphonies to follow Haydns device of
openingwithaslowintroductionbeforelaunchingintoanopeningAllegro
spiritoso a movement that perhaps shows how the composer was
working at breakneck speed to complete the work and not quite able to
iron out some of the weaker and more obvious passages of the score.
Haydns influence is equally apparent in the second movement Andante
butMozartbreaksawayfromtheolderstyleforthetwofinalmovements,
theconventionalMinuetandTrioandafinalbreakneckPresto.TheLinz
may not be Mozart at his greatest but it is a rewarding enough
commissioned piece after which the composer took another break from
composing symphonies, this time for a full three years. By the time this
intervalhadbeenconcluded,Mozarthadreachedthematurityofthefour
finalworksbeginningwiththePragueSymphonyinDecember1786.

Mozart made two versions of his Symphony No.40 in G minor (K550), a

work full of neurosis and perhaps the leanest of the all the great
symphonies intellectually and thematically. There is not one note too
many, and the symphony contains a sense of almost violent despair,
foreshadowingthedevelopmentsoftheRomanticera.Thefirstversionof
the score is written for flute, oboes, bassoons and horns as well as the
usualstringband,thehornscontributingaparticularlyaggressivetoneto
themusic.MozartsrevisionofthescoreinApril1791addedclarinetsto
the texture and involved some revision of the oboe parts. The earlier
versionisleaner,thelatermorefulsome,buttheeconomyofmaterialis
apparentinbothversions.Theversionpresentedonthisdiscistheoriginal
scorewithoutthelaterrevisionsandaddedclarinets.

CD10:Symphonies38Prague&39
GeneralopinionconsidersMozartslastthreesymphoniestobethepoint
ofabsoluteperfectioninthecanon,butitwouldbewrongtodismisstoo
lightly the qualities of the preceding three, particularly the Prague
Symphony (K504), which opens this disc. It is the third of a series of
named symphonies and owes its title to the city where Mozart
experienced many of his greatest successes and which was particularly
deartohisheart.Itisthereforeperhapsalittlestrangethatthesymphony
was actually completed in Vienna in December 1786 (although Mozart
performed it in Prague the following year) and that its genesis is not a
straightforward one. Mozart had been busy at the time of the works
composition, not only with Le nozze di Figaro but also with revising his
earlier Symphony K297. It has been suggested that the finale of the new
symphony was originally conceived as a replacement finale to the earlier
composition,alsoanamedwork(Paris)andalsoinDmajor.

Unusually for Mozarts laterworks, the symphony is in threemovements

ratherthanfour.Theopeningmovementbeginswithadevicecommonto
some of the major symphonies of Mozarts friend and mentor Joseph
Haydn, that is a slow introduction which also poses an ambiguity of key
between D major and D minor. Indeed, much of the opening material of
the movement is firmly in the minor key. This opening Allegro is one of
Mozarts finest achievements, a masterpiece of counterpoint with a
particularly virtuosic development section. The central movement is a
quiet Andante in 6/8 time, which continues the ambiguity of its
predecessor, leaving the listener to doubt whether this is music of great
sorrow or of veiled joy. Mozart omits a Minuet movement and proceeds
straight to the headlong Presto finale, with its emphasis on the wind
sectionoftheorchestra.

It was originally thought that the final three masterpieces of Mozarts

symphonic canon were never performed during his lifetime, but this has
been shown now to be an unlikely tale. Mozart arranged a series of
Viennesesubscriptionconcertsin1788anditislikelythatthethreefinal
symphonies were performed there at that time. Mozart probably also
performed the works whilst on tour in Germany the following year and
musthaverevisedthem(particularlytheverydifferentscoringofthetwo
versions of K550) with specific orchestras in mind. The whitehot

inspirationoftheseworksisevenmoreremarkableconsideringthatthey
wereallwritteninanextremelyshortperiodoftime.

The Symphony No.39 in E flat (K543) is scored for a band without oboes
and thus matches the orchestration of the earlier Piano Concerto No.22
(K482). The key was one of Mozarts favourites and has been seen as
havingaqualityofbothsufficiencyandtenderwistfulness,aswellasbeing
the key most associated with Mozarts Masonic music. This symphony
reverts to the more usual fourmovement pattern with the reinstatement
of a Minuet and trio for the third section. The opening Allegro is again
precededbyaslowintroductionandisnotableforitssinginglegatotheme.
The slow movement is an Andante con moto in A flat major, a lyrical
movement disturbed by great outbursts in related minor keys. The
conventional Minuet and trio that follows is notable not only for its
tendencytosoundsomewhatlikeSchubertbutalsofortheprominenceof
the clarinet parts in the trio section. Finally, the Allegro finale is one of
Mozarts most complex and complicated, with innovative writing
particularlyforthehornsection.

Symphonies40(2ndversion)&41Jupiter(CD11)
The final three symphonies by Mozart were all composed in the
remarkablyshortperiodofabouttwomonthsinthesummerof1788and
can, perhaps, be seen as a cycle. It was unusual for Mozart to write
symphoniesinthesummermonthsandthedatesofthefirstperformances
of these works are unclear. As with the preceding symphonies, it was
originallyassumedthatthefinalthreemasterpieceswereneverperformed
during his lifetime, but it is now thought to be likely that Mozart
performedthemduringhisViennesesubscriptionconcertsof1788andon
tour in Germany the following year. Indeed, it was almost certainly with
different orchestras in mind that Mozart made two versions of his
SymphonyNo.40inGminor(KV550)theversionpresentedhereisofthe
revisedscore,withaddedclarinetsandchangestotheoboeparts.

The final work in this great trilogy of late symphonies is known today by
thenicknamegiventoitbythegreatimpresarioJohannSalomon,apatron
of Haydn who had persuaded the older composer to travel with him to
London,suggestingthatMozartshouldfollowatalaterdate.Mozartsvisit
did not, eventually, take place, but the symphony that was the result of
this situation still bears Salomons title of Jupiter, bringing with it
somethingofthegrandeursuchanamesuggests.

Perhapssignificantlyforhisfinalsymphony,theJupiterisinthegrandkey
ofCmajor,thesamekeyasmuchofthefinaloperaLaclemenzadiTito.It
is a key of celebration and pomp, demonstrated aptly in the final
movementsuseoffuguewithintheconstraintsofasonataformstructure.
Thegrandeurofthemusicalsoreflectsthepoliticalsituationoftheera,a
timewhenAustriawasatwarwiththeTurks.Religiousquotationswithin
thesymphonygivetheworkapositiveandtriumphantattitudethatisfar
removedfromthequestioningandneuroticdespairthatcoloursmuchof
the previous symphony. Mozart had, by now, outgrown his own earlier
style and forged a new type of music, looking towards Schubert and
Beethoven rather than back to his revered master Haydn. The third
movementhasthefeelofaLndlerfolkdanceinthestyleofSchubertor
evenMahler,incontrasttothecourtlyMinuetsofhisearliersymphonies.
Similarly, the counterpoint within the work is totally confident and fully
integratedintothepiece.Nowhereinthehistoryofmusichasaseriesof
symphonicworksendedwithsuchaconfidentassertionofstyleandwith
sucharevelationofanenduringmasterpiece.
Dr.DavidDoughty

KEYBOARDCONCERTOSK107(CD12)
Mozart composed twentythree piano concertos during the most
importantcreativeperiodofhislife(17731791).Priorto1773keyboard
concertos were by no means uncommon: Johann Sebastian Bach
composed a number of works for harpsichord and orchestra, many of
which were simply arrangements of existing pieces for violin, whilst his
eldestsonCarlPhilippEmmanuelsofavouredthenewfortepianothathe
composedoverfortyconcertosforthisinstrumentandwroteanadmired
treatiseontheartofitsplaying.HoweverMozartwasthefirstcomposer
toexplorethedynamicandexpressivepossibilitiesofthefortepianoand,

95010MozartCompleteEdition
6


as Charles Rosen has written, he made the entrance of the soloist in the
firstmovementsanevent,likethearrivalofanewcharacteronthestage.
With one exception (K271) the orchestra gives a lengthy introduction to
thework,quotinganumberofdifferentthemesandpreparingthelistener
fortheentranceofthemaininstrument.Whilsthithertothekeyboardwas
almost treated as one of the orchestra, Mozart gave it some
independence: on its entrance in his works the piano does not always
makereferencetomotifsalreadyheardbutisoftenrequiredtodevelopits
ownthemes.

To find this style took practice and it was not until the fifth numbered
concerto(K175from1773)thatMozartfeltabletocomposeusinghisown
original ideas. Before that, at the suggestion of his father Leopold, he
practicedforthegenrebyarrangingthesoloworksofothercomposersfor
keyboardandsmallorchestra.Someofthefirstpiecestobesoarranged
were by Johann Christian Bach (1735 1782). Johann Christian Bach was
the youngest son of Johann Sebastian Bach by his second marriage.
Followinghisfathersdeathin1750JCBachmovedtoBerlinwherehewas
taughtbyhishalfbrotherCarlPhilippEmmanuelBach,whocomposedfor
and played at the court of Frederick the Great. Whilst in Berlin, Johann
Christian became fascinated by Italian opera and he made plans to visit
Italyattheearliestopportunity.

AfteraperiodinMilanhestudiedwithPadreMartiniinBologna.JCBach
remained in Italy until 1762 when he was invited to London and early in
the following year was appointed Queen Charlottes music master. His
operascomposedforLondonandtheItalianstageswerehighlysuccessful,
resultinginhisownreputationexceedingthatofhisfatheratthistime.In
April 1764 theMozart family arrivedin London as part of their European
tour and Johann Christian Bach was immediately captivated by the
precociousgeniusofyoungWolfgang.Bothmusiciansweresetinfriendly
competition in public together and, in the eyes of many witnesses, the
childoftenbeatthemanwithhiscleverimprovisations.

AsJohannChristianBachhaddevelopedaninterestinItalianoperawhilst
staying with his elder half brother, so it is likely that Mozarts liking for
operawasengenderedwhilststayinginLondon,thenaMeccaforloversof
opera.

Johann Christian Bachs music is an amiable mixture of both German

baroqueandthesunnierandlesscontrapuntalItalianstyles.Hecomposed
inamannerknownasgalant,describedbyJohnJenkinsinhisMozartand
theEnglishConnection(1998)asgraceful,courtlyanduncomplicated.In
1768hewasoneofthefirstmusiciansinEnglandtoplaythefortepianoin
public and he almost certainly appreciated the dynamic and expressive
capabilities of this instrument as opposed to the somewhat dry and
monotonoustonesoftheharpsichord.Indeedthepiecesherearrangedby
Mozart were advertised upon publication in 1765 to be played on either
harpsichordorfortepiano.

PIANICONCERTOS(CD1322)
Piano Concerto No 24, K. 491 Piano Concerto No 3, K 40 Piano
ConcertoNo13.K41(CD13)
TheKoechelnumberofMozartsCminorConcerto(K491)placesthework
immediately before the great masterpiece of The Marriage of Figaro,
thus at the very height of Mozarts achievement. Just as the C minor
SerenadehasarelationshipwiththeSeraglio,thisworkinthatsamekey
relates to Figaro and takes from that Opera, the other side to the
obviouscomedythatisadarkerandmoretragicmood,somethingthat
relatesinthefuturetotheworldofBeethovenandspecificallytohisown
CminorConcerto.

Mozarts orchestration here is far from simple and the work is in a truly
symphonic style including both clarinets and oboes and with a
considerableaccentonthewindwritingingeneral.Theworkisintheusual
three movement form beginning with an Allegro movement written in
three/four time and of some relatively considerable length. The progress
thatMozarthasmadeawayfromthesimpleMarchlikeopeningsofearlier
Concertos is clear in this introduction and although the final Allegretto
returnstothatMarchlikeidea,thistimethereissomethingquitenewas

the movement takes on a series of variations and episodes. Framed by

thesetwomovementsisthestillnessoftheLarghetto,introducedbyafew
barssimplyfromthepianoandthenfollowedbyanorchestraldialoguethe
textures then become richer as the soloist and orchestra take turns to
embroiderthebasicfabricinoneofthemostupliftingslowmovements.

MozartskeyboardConcertoswerebasicallywrittenfortheearlyversionof
todayspianofortedespitetheeffortsofsomeperformerstoclaimcertain
worksfortheharpsichord.Infact,Mozartdidprobablyconceivetheearly
Concertos of K 107 and the first four in the numbered sequence of the
twentysevenmajorConcertosforaharpsichord.ThosefirstfourConcertos
are also works which contain not original music by Mozart but
transcriptions ofworks by other contemporary composers perhaps well
knownattheirtime,butnowadaysmostlyforgottenwiththeexceptionof
CPEBach.Mozartsownhouseholdcontaineditsownpianosandhewas
keenoninnovationratherthanrelianceontheoldertypesofinstruments.
The first early Concertos are all in major keys and follow a model of
pastiche that stretches to the present in works as diverse as those by
Stravinsky,WebernandBritten.

Completed in 1767, the third of the Piano Concertos (K 40) is in D major

andscoredforanorchestraofoboes,horns,trumpetsandstrings.Based
upon music Mozart would have encountered whilst travelling in Paris
between 1763 and 1766, for a time these four early Concertos were
thought of as being original Mozart compositions. The opening Allegro is
basedonworkbytheStrasbourgbasedcomposerLeontziHonauerwitha
central Andante in G minor based on music by the then well known and
respected Parisian master Johann Gottfried Eckard, a pupil of Carl Phillip
Emanuel Bach. It is from the Bach son himself that the third movement
takesitsmaterialanarrangementofhis1760sshortpieceLaBoehmer
Although these early Concertos may have benefited somewhat from the
help of Mozarts father, Leopold, they were conceived as travelling cards
fortheyoungvirtuosoplayer,Wolfganghimself.

The C major Concerto (K 415) is one of a group of three Concertos that

Mozart composed over the winter of 17821783, the first group of
ConcertosthatweretobecomposedforVienna.Mozartsideaherewasto
have the Concertos published, possibly in Paris, and he was not ready to
take any great risks in alarming his public with innovations of any
kind.Whatever may have come of that idea, the three Concertos were
eventually published in Vienna two years later, probably one of those
examplesofMozartsinabilitytodealtoowellwithhisownfinances.

Mozart was eager to make the Concertos as acceptable as possible and

thus they are provided with full orchestration, in this case including
trumpetsortimpaniorasuggestionforperformancewithstringquartet
in fact the wind parts merely double those of the strings and are almost
dispensableinthatrespect..Nevertheless,thosetrumpetsandtimpanido
add a sense of brilliance to the Concerto in its full orchestral guise. The
conventionalnatureoftheopeningAllegrosaysitall,butoriginallyMozart
had planned to follow this with a slow movement in the minor key; the
possibility of that making this rather simple Concerto too serious for its
intended audience dissuaded him and the Andante is perhaps one of
Mozartsleastinspiredmovements.Allcomeswellthoughinthesix/eight
Finale,markedasanAllegroRondeau,whenMozartmanagestoinserthis
C minor episode amidst a great deal of ornamentation.Whatever
posteritys judgement may be, Mozart had at least succeeded in pleasing
hisVienneseaudienceandmakingahandsomeprofitfortheAcademyat
itsfirstperformance.

PianoConcertoNo15inBflatmajor,K450PianoConcertoNo11inF
major,K413PianoConcertoNo23inAmajor,K488(CD14)
Apart from the very early transcriptions of the first four Piano Concertos
andthekeyboard(harpsichord)transcriptionsofthethreeK107Concertos,
MozartsworksforPianoandOrchestracanbeconsideredtobeworksof
maturity.WiththeViolinConcertosbehindhimandthegreatSymphonies
still to come, the central twelve Concertos of the years 1784 to 1786
containsomeofMozartsgreatestmasterpiecesinanyform.Thepresent
disc contains three Concertos that represent very different aspects of
these Concertos from the simplicity of the F major Salzburg Concerto,
throughthedifficultiesoftheBflatmajorConcertofromthatyearof1784

95010MozartCompleteEdition
7


and up to the undeniable masterpiece of the A major (K 488) Concerto,
arguablythefinestofalltheConcertos.

Having composed his E flat major Concerto (K 449) for his pupil Barbara
Ployer, Mozart set about writing both a second Concerto for her (K 453)
and two others exclusively for himself. The whole project took no more
thantwomonthsandMozartwaskeentoaddsomerathermoredifficult
andvirtuosopassagesforhisownperformance,particularlysointheBflat
majorConcerto(K450),dated15thMarch1784whichnotonlyisintenton
stretching its solo performer but is also scored for a relatively large
orchestra.

ThesedifficultiesareimmediatelyapparentintheopeningAllegrowhichis
asurprisinglygoodnaturedandlivelypiece,despiteitsfrequentrecourse
totheminorkey.ThisisfollowedbyanEflatAndantewhichconsistsofno
more than a theme with two variations and a Coda but shows Mozarts
genius at portraying a simple dialogue between soloist and orchestra as
well as a series of lovely ornementations on the piano theme. The final
Allegro,insix/eighttimeintroducesahuntingmotifwhichappearsagainat
itsconclusionandcontainsoneofMozartsownvirtuosoCadenzas.

Taking its place as the first of a series of three Concertos beginning in

December1782,theFmajorConcerto(K413)isscoredsimplyforstrings
and wind and is also available (together with its two successors) in an
arrangementmadebythecomposerhimselfforPianoandstringQuartet.
This is the Mozart of geniality rather than the Mozart of genius, the
composer appealing not only to the cognoscenti, but also to the general
publicalthoughitisonrecordtoothattheConcertomadeadistinctappeal
to a person no less than the Emperor as well as providing a substantial
incomefortheAcademy.Intheusualthreemovementform,theConcerto
openssomewhatunusuallywithanAllegrointripletimebeforeleadingto
an amiable, if hardly profound Larghetto, more of an Intermezzo than a
trueslowmovement.FinallytheRondoisfilledwithcounterpointforthose
localconnoisseursandmarkedinTempodiMinuetto.

TheAmajorConcerto(K488)isoneofagroupofthreeConcertoswritten
inthewinterof17851786atthesametimethatMozartwasworkingon
The Marriage of Figaro. Although these are Concertos where Mozart is
stretching his audience to an unprecedented degree, the A major work
beginssimplyenough.Thescoringlackstrumpetsandtimpanibutstillhas
a darker side to it that permeates the whole work. Unusually too, the
Cadenza in this movement is incorporated in the full score. The slow
movement is an Adagio of quite unsurpassable emotion and beauty and
stands as one of the finest single movements in any composition by
Mozart;itiswritteninFsharpminor,theonlytimethatMozartusedthe
key in any of the Concertos. That key has been hinted at in the opening
Allegro,buthereithasasenseoftragedythatcanonlybeseentoexpress
themostprofoundofsorrows.Thatsuchdeepsadnesscanbedispelledat
allisquiteamazingbutthefinalAllegroassaimanagealightheartedness
andanexuberancethatarenotoccasionallywithoutabackwardglimpse
aimedtowardsatingeofsadnessbeneaththatapparentstreamofjoyous
melody.

PianoConcertoNo21inCmajor,K467PianoConcertoNo1inFmajor,
K37PianoConcertoNo25inCmajor,K503(CD15)
Filmortelevisionaresometimesmediathatcanpickonapieceofmusic
and make it immediately known and loved by an enormous popular
audienceandthatwasjustwhathappenedtoMozartsCmajorConcerto
(K 467). The film in this case was the rather sentimental story of Elvira
MadigandirectedbytheSwedeBoWiderberg.Sowellknowndidtheslow
movementoftheConcertobecomethatsincethentheConcertoitselfhas
onmanyoccasionsbeengiventhesubtitleElviraMadigan.Theassociation
may seem inappropriate in some respects given the high quality of
Mozartsoriginalconceptionbutithascertainlygiventheopportunityfora
wideaudiencetobecomefamiliarwithatleastpartofthismajorwork.

\Premiered by Mozart himselfon March10th 1785 at the Burgtheater in

Vienna,theCmajorConcertofollowsitssplendidpredecessorinDminor
by only a month and clearly shows the composer at the height of his
powers and midway through a series of Piano Concertos that have
become the cream of the crop. The opening Allegro maestoso is

permeated by a theme in March rhythm punctuated by fanfares in the

winds and an affecting and simple second subject. After the usual
orchestralintroductionthereisaparticularlyfineentranceforsolopiano.
ThefollowingAndante,mentionedaboveinthecontextofthefilm,basesa
soaring almost vocal melody without words above a pizzicato string
accompaniment. Finally, the Allegro Vivace is a good humoured Rondo
takinginseveralchangesofkeybeforereachingitsfinalCadenzaandCoda.

MozartskeyboardConcertoswerebasicallywrittenfortheearlyversionof
todayspianofortedespitetheeffortsofsomeperformerstoclaimcertain
worksfortheharpsichord.Infact,Mozartdidprobablyconceivetheearly
Concertos of K 107 and the first four in the numbered sequence of the
twentysevenmajorConcertosforaharpsichord.ThosefirstfourConcertos
are also works which contain not original music by Mozart but
transcriptions ofworks by other contemporary composers perhaps well
knownattheirtime,butnowadaysmostlyforgottenwiththeexceptionof
CPEBach.Mozartsownhouseholdcontaineditsownpianosandhewas
keenoninnovationratherthanrelianceontheoldertypesofinstruments.
The first early Concertos are all in major keys and follow a model of
pastiche that stretches to the present in works as diverse as those by
Stravinsky,WebernandBritten.

WritteninSalzburginApril1767,thefirstofthePianoConcertos(K37)isin
F major and scored for oboes and hornswith strings and a pianoforte or
harpsichord. The Concerto is based upon music Mozart would have
encountered whilst travelling in Paris between 1763 and 1766. The
openingAllegroistakenfromasetofKeyboardandViolinSonatasbythe
St Petersburg Kapellmeister Hermann Raupach which had already been
publishedinParisin1756.TheCmajorAndanteisofunknownoriginwhilst
the final Allegro is based on work by the Strasbourg based composer
Leontzi Honauer. Although these early Concertos may have benefited
somewhatfromthehelpofMozartsfather,Leopold,theywereconceived
astravellingcardsfortheyoungvirtuosoplayer,Wolfganghimself.

ItisfairenoughtosaythattheCmajorConcerto(K503)istheconcluding
workintheseriesofgreatConcertoscomposedbetween1784and1786.
After this there is a break in composition before the two final Concertos
whereMozartconcentratedonhisfinalmajorSymphoniesandtheopera
Don Giovanni. Indeed this Concerto was followed immediately by the
Prague Symphony and the C major Quintet rather than any further
Concertos.TheCmajorisasuitablygrandworkrelatedtoitspredecessor
inthesamekey,K467.

AgainMozarttakesaMarchthemeforhisopeningAllegro,athemewhich
enters in the minor key scored for the string section and flutes, oboes,
bassoons and horns. The mood of the movement is already symphonic,
pointing forward to what was to follow. Despite its marking as an
Andante, the central movement is full of nobility and takes on the
characterofadeeplyfeltslowmovement.Finally,theconcludingRondois
a less exuberant piece than may normally have been expected at this
point, more in a style of confident affirmation which at times becomes
even stormy and agitated. Mozart has been accused of a degree of
indifferenceatthispointbutthisishardlyrelevantincontextofthedrive
andpositivenatureoftheConcertoasawhole.

Volume 2: CD 5 Piano Concerto No 9 in E flat major, K 271 Piano

ConcertoNo2inBflatmajor,K39PianoConcertoNo12inAmajor,K
414(CD16)
The exceptionally precocious Mozart was presented alongside his older
sister Maria Anna Nannerl at various European courts from 1762,
beginning with much feted appearances in Munich and Vienna. The
followingyeartheirfatherLeopoldtookthechildrenasfarafieldasParis
wheretheyplayedatthecourtofLouisXVwhilstinApril1764theyarrived
in London and entertained King George III. Whilst in London Wolfgang
played alongside Johann Christian Bach, the most influential musician in
Britain at that time. Both man and boy set each other tasks at
improvisation and it was felt that Mozart consistently bettered the elder
player. Johann Christian Bach held no grudge and the two became firm
friendsalthoughtheydidnotmeetagainuntilMozartvisitedParisin1787,
at which time Bach was supervising the first performances of his opera
Amadis.

95010MozartCompleteEdition
8

Mozart had already begun to compose when he was five and whilst in
Londonhecomposedthreesymphonies.Togivehimpracticeincomposing
for orchestra, Leopold set young Wolfgang the task of arranging various
pianosonatasbywellknownandrespectedcomposersofthetimeforsolo
keyboardandsmallorchestra.

MozartsPianoConcertono.2inBflatK39wascomposedonthefamilys
returnhometoSalzburgfromyetanothertourandisanarrangementof
threemovementsbyHermannFriedrichRaupach(17281778)andJohann
Schobert (c1735 1767). It is scored for solo keyboard, two oboes, two
horns and strings. Raupach, whose first and final movements from his
Sonata op. 1/1 was used by Mozart in this practice work, was a fine
keyboard player taught by his organist father and spent much of his
working life in St Petersburg as court composer. His opera Alceste,
produced the year in which he became Kapellmeister (1762) was one of
thefirstsuccessfulRussianoperasanditssombrestyleanticipatedthatof
Gluck,whoseownversionofAlcestehadsuchanoverwhelmingeffecton
MozartinViennain1767.ForashorttimeRaupachleftRussiaandfound
workinHamburgandParis(wherehemetandheardMozart),returningto
St Petersburg in 1768. However he failed to achieve the same success in
thatcityasheretoforeandhediedthereinrelativeobscurity.

LittleisknownofSchobartotherthanthathewasinParisinaround1760
and that he died in great agony alongside other members of his family
havingconsumedpoisonedmushrooms.Fromthefactthathemanagedto
publishlavisheditionsofhisownworksathisownexpenseoneassumes
that he must have enjoyed some success; certainly Mozart held his
keyboard works in great esteem, using them as examples of good
craftsmanshiptohispupils,andheborrowedathemeofSchobartsinhis
Piano Sonata in A minor K 310. For his slow movement Mozart arranged
theAndantepocoAllegrosectionofSchobartsOpus17/2.

Thesamemusicalforcesareusedfortheothertwoconcertosonthisdisc.
In the winter of 1776/7 a French keyboard virtuoso player named Mlle
Jeunehomme visited Salzburg. She created such a sensation that Mozart
namedhisPianoConcertono.9inEflatK271afterherand hemaywell
have met her once again on his illfated tour to Paris (when his mother
died) in 1778. This concerto was composed in the month of Mozarts
twentyfirstbirthday,andtheopinionhasoftenbeenexpressedthatthis
marvellousconcertoalsomarkshismusicalcomingofage.Anumberof
innovative effects set this concerto apart from other pieces composed
before this time (January 1777): for example an orchestral fanfare brings
an immediate response from the piano not until Beethovens Fourth
PianoConcertowouldasoloistagainentersosoon.Beforetheorchestra
has finished its customary introduction one hears the piano trilling on a
high B flat before launching into its own theme. The beautifully
melancholic slow movement is in C minor (the first Mozart concerto
movementinaminorkey)anditsformandcharacterresemblearecitative
andariafromanoperaseria.TheexhilaratingRondeaufinalechangesgear
suddenlytointroduceaminuetpassagewithfourvariations.

The Piano Concerto no.12 in A K 414, composed in 1782, belongs to a

group of three concertos written not long after his arrival in Vienna
described by the composer as something intermediate between too
difficultandtooeasy(being)verybrilliantandfallingpleasantlyuponthe
ear. Mozart offered the scores for sale at the relatively high price of six
ducats(possiblyduetothefactthatalargedebtwasabouttobecalledin)
and announced the imminent sale of arrangements for piano solo and
stringquartet(thusmakingitpossibleforchambergroupsandamateursto
play)butwaslaterforcedtocuttheprice.Itmusthavebeenparticularly
gallingforthecomposertowitnessthefirmofArtariamakingatidyprofit
ontheseconcertoswhentheywerepublishedin1785.Despitethelackof
takings up front, Mozart knew that he could count on a large and
appreciativeaudiencewhenheperformedthesepiecesinpublicindeed
the Emperor Joseph II attended one of these concerts 25 ducats in
advance. Over the next few years Mozart took advantage of the publics
new taste for virtuosity on the concert platform by composing keyboard
concertos that were far more sophisticated than any previously
encountered in Vienna or anywhere else. Of the three concertos in this
group(K413415)thisconcertoisthemostlyricalwithanabundanceof

interestingmaterial.AsatributetoJohannChristianBach,whohaddiedin
1782,MozartusedathemebyhislatefriendintheAndantemovement.

PianoConcertoNo17inGmajor,K453PianoConcertoNo5inDmajor,
K175PianoConcertoNo6inBflatmajor,K238(CD17)
InordertopracticecomposingconcertosMozartsfather,Leopold,sethim
assignmentstoarrangesolokeyboardworksofcomposerssuchasJCBach
(K107),Raupach,HonauerandSchobart(K37,3941)forsolokeyboard
and orchestra. These apprenticeship works cannot be dated with precise
accuracybutitisthoughtthattheywerecomposedinabout1767iewhen
thecomposerwasaboutelevenyearsold.Mozartlearnedmuchfromthe
works of Johann Christian Bach, whom he met and accompanied in
London. Bachs own style was an intriguing mixture of German baroque
(from his father and also his halfbrother Carl Philipp Emmanuel with
whomhestudiedinBerlin)andthebrighterItaliansoundthathepickedup
in Milan and Bologna (where he took lessons from Padre Martini). This
stylehasbeenreferredtoasgalant,musicthatisgraceful,refinedyetalso
spirited in the finale movements. Following these apprenticeship works
there was a gap of a few years until December 1773 when Mozart
producedhisfirstkeyboardconcertowhichdidnotstemfromtheworkor
worksofothercomposers.

The concerto, known as the Piano Concerto no. 5 in D K 175, appeared

shortlybeforethecomposerseighteenthbirthday.Theconcertorevealsa
certainamountofcharm,butalsodemonstratesalackofexperiencewith
scoring with often uneccessary doubling of parts (the work is scored for
twooboes,hornsandtrumpetswithtimpaniandstringsinadditiontosolo
keyboard), although Mozart later remedied this to a certain extent by
altering the wind parts. Whatever the works weaknesses, Mozart kept
faithwiththeconcertototheextentthatheplayeditontourinMunich
(1774)andMannheimandParis(17778)andproudlywrotehometohis
fatherthattheMannheimaudienceshadtakenthepiecetotheirhearts.

MozarthadotherreasonstolookbackfondlyonMannheim,forwhilsthe
wastherehefellinlovewiththesingerAloysiaWeberandwroteforhera
concertariaAlcandro,loconfessoNonsodondevienewhichquotedtwo
themes from the slow movement of this concerto. He later married
Aloysias younger sister, Konstanze. Later, in Vienna, Mozart composed a
new finale, the Rondo in D K 382 in place of the original sonataform
movement which closed K 175. Following its premiere in 1782 this new
movement became hugely popular and Mozart chose to retain this later
movementwhentheworkcametobepublishedin1785.

The bright and vivacious Piano Concerto no. 6 in B flat major K 238
followed just over twoyearslater in January 1776. This engaging work is
clearly more sophisticated than its predecessor and one gains the
impressionthatMozartcomposedthepieceasmuchtoshowoffhisskillat
the keyboard as to entertain the public. And entertaining it certainly is,
withdelicacyandrhythmicalbrilliancemarkingtheopeningAllegroaperto
movement,atenderandexpressiveAndanteandafinalethatwasthefirst
of many Rondo with variations Mozart used to close the concertos.
Mozarts sister Nannerl is known to have played this piece in concert in
SalzburgandhealsotooktheworkontourtoMannheimandAugsburgin
1777. Certain editions of the score, which was not published until 1792
(the year following Mozarts death) indicate a piano continuo part which
effectively fills in the wind parts, presumably so that the pianist might
substitute for these instruments (pairs of flutes, oboes and horns) ifonly
stringedinstrumentswereavailable.

FollowinghisprecipitousmovetotheAustriancapitalitdidnottakelong
for Mozart to discover the Viennese liking for technical brilliance and
drama once he arrived in that city following his escape from the rather
stifling atmosphere of Salzburg. Always someone that lived beyond his
means, Mozart strived to make ends meet by appearing as often as
possibleinpublicshowingoffhisformidableandinventiveprowessatthe
keyboard. Consequently piano concertos appeared thick and fast: for
example six piano concertos were composed during 1784, of which the
fourththatyear,theGK453wascompletedon12April.Thiswastrulya
busytimeforMozart:inthenineweekperiodbetween9Februaryand12
April he completed three piano concertos, the Piano Quintet K 452 and
playedinnofewerthan24concerts!Healsofoundtimetomovehousein

95010MozartCompleteEdition
9


JanuaryofthatyearandagaininSeptember(havingjustrecoveredfroma
kidneyinfectionthatlaidhimlowforafewweeks).Attheendoftheyear
he joined the freemasons, presumably hoping to acquire important
contacts.InthePianoConcertoK453Mozartwaslessinclinedtodisplay
technicalbrillianceandthesoloiststhemeintheopeningAllegrodoesnot
presentacontrastingmoodtotheopeningorchestralritornellobutrather
complements it. There is more drama in the second movement marked
Andante following a contemplative beginning demonstrating the close
stylisticlinkthatMozartdisplayedbetweenhisconcertosandopera.The
AllegrettofinaleisatypicallyjoyousRondowithvariations.

PianoConcertoNo16inDmajor,K451PianoConcertoNo8inCmajor,
K246PianoConcertoNo19inFmajor,K459(CD18)
The D major Piano Concerto (K 451) dates from 22nd March 1784 and
comesfromoneofMozartsmostproductiveperiods.Duringlittleovera
month,hegaveatotaloftwentytwoconcertsandtheConcertostandsin
the midst of one of Mozarts most prolific periods of composition
beginning with the Concerto written for his pupil Barbara Ployer (K 449)
andfollowedbythetwoConcertosinBflat(K450)andD(K451)andthen
withabriefpauseforaPianoQuintet(K452),anotherConcertoinGmajor
(K453).Amazinglytoo,despitetheclosenessofcomposition,eachofthese
worksbearsthestampofitsownoriginality.

Scoredforarelativelylargeorchestraincludingtrumpetsandtimpaniand
withanaccentonthewindsoloists,theDmajorConcertohasadistinctly
symphonicfeelaboutit.TheopeningAllegroisatypicalMozarteanMarch
movement with an accent on the heroic mood but with an unusual and
unexpected quiet section in its recapitulation. This is followed by a slow
songlikeAndantewiththeaddedbonusofafinalcontrapuntalclimaxand
thenaRondomarkedAllegrodimoltowhichinitiallyappearstoowemuch
tothespiritofHaydnbutalsocontainsasurprisinglyseriousdevelopment
section.

ReferredtoastheLutzowConcerto,theCmajorwork(K246),datesfrom
1776 and thus comes shortly after Mozarts series of Violin
Concertos.WrittenforthecountessAntoniavonLutzow,wifeofthelocal
Commandant,Mozarthadnoneedtowriteasimpleworkforanamateur
theCountesswasherselfaproficientpianistandapupilofMozartsfather
Leopold. Mozart originally envisaged having the Concerto published in
Parisinagroupofthreebuttheprojectnevercametofruitionandanother
opportunityforfinancialenhancementoncemoreflounderedMozartwas
nevertomakeagoodbusinessman.

NotsurprisinglythisishardlyoneofMozartsmoreadvancedConcertosin
styleanditfollowsthepatternofhispreviousConcertoinBflat(K238)it
wasnotinfact,untilthesucceedingJeunehommeConcertothatMozarts
trueoriginalityintheseworkswouldsurface.Thethreemovementsfollow
theconventionalfastslowfastschemewithratherpastoraltingetothe
central Andante, simple in style and character and a Minuet styled final
RondowhichshowsitsflairafterthefinalCadenza.Interestingly,although
he never wrote out the Cadenzas in the outer movements, the central
AndantesCadenzaisgivencompleteinthescore.

Completedon11thDecember1784,theFmajorConcerto(K459)belongs
to one of Mozarts finest creative periods and is the first of the series of
masterpiecesthatfollowandincludetheConcertosinDminor(K466)and
thefamousElviraMadiganCmajorConcerto(K467).ThisFmajorwork
waswrittenforthecomposerhimselftoplayandshowsaprogressionof
ideas and geniality throughout its three movements which makes it a
particularly satisfying work taken as a whole. The opening Allegro, by far
the longest of the three movements, is based on a March rhythm that
showstheinfluenceofthePiedmontviolinistGiovanniBattistaViottiwho
hadperfectedsuchfestiveMarchesinhisConcertosandforwhomMozart
wroteanalternativeslowmovementtobeincludedinhissixteenthViolin
Concerto as well as reorchestrating the outer movements of the
piece.Mozart obviously had a high opinion of Viotti and may also have
beeninfluencedbythemilitaryaspectsofhissixthConcertofrom1782/3,
also written in the key of D minor. This proud and somewhat arrogant
introductory movement prefaces the charming Allegretto in C major that
follows.Theslowmovementhasbeenseenasanorchestralcounterpartto
Susannas Act Four aria in The Marriage of Figaro, both tender and

melancholy in its emotional depths. After those moments of peace and

tranquillity,thefinalAllegroassaiRondoisaplayfultakeonMozartsuse
of counterpoint, which outdoes both of the previous movements. That
finalmovementseemstoactasacombinationofSonataform,Rondoand
Fugue,allwithhintsofthegeniusofaMozartcomicopera.

PianoConcertoNo20inDminor,K466PianoConcertoNo22inEflat
major,K482(CD19)
Whilstonlyaboy,Mozarthadtravelledwithhisfatherandsisterandhad
playedbeforeaudiencesinVienna,ParisandLondon.Laterasayoungman
hewastotakecommissionsforhismusicalcompositionsfromprincesand
noblemen, professional musicians and amateurs alike as well as still
performing his own works. His life and work in Salzburg, the town of his
birth were to be unhappy experiences, blighted by his dislike of the
fractiousArchbishopColloredo,hismainemployer.Whenin1781relations
with the Archbishop came to a head, Mozart left his home town and
travelledtoViennatobeginlifeasaselfemployedmusician.Itwasthere
in the capital city of the Empire and centre of European culture that
Mozartwastoblossomandtofindbetterfortune.Thatgoodfortunenever
quiteappliedtoMozartsfinancialposition,butalthoughthenoblemenof
the city were slow to reward him in pecuniary terms, they were able to
recogniseandencouragehisgenius.

Viennawasinallrespectsunwillingtoencourageanysortofrevolutionary
activity both in politics and the Arts but Viennese Society was ready to
accepttalentandto,ifsomewhatgrudgingly,offersomesortofpatronage
to its most renowned musician. It would take Beethoven and his more
aggressivestancetochangetheclimateofthingsmusicalinthecitybutat
least the atmosphere was conductive to Mozart producing some of his
finestmasterpiecestowhichthePianoConcertoscomposedbetween1784
and 1786 are a major part. True as it may be that Mozarts financial and
emotional situation would lead to his physical and mental decline in the
lastyearsofhislife,thosetwoyearscanbeseenassomethingofagolden
ageforhiscompositionsforpianoandorchestraanditistothosegolden
yearsthatthePianoConcertosinDminor(K466)andEflatmajor(K482)
belong the former premiered on February 10th 1785 and the latter in
Decemberofthesameyear.

ThefirstofthePianoConcertosof1785wasthefamousDminorwork,the
firstofanyoftheConcertostobewritteninaminorkeyandtheonlyone
that remained popular throughout the nineteenth century. It follows the
previous F major Concerto after an interval of only two months and is
probably the first of the Concertos that shows Mozart as the direct
antecedentofBeethoven,particularlythelattercomposersthirdConcerto
anditissignificantthattheyoungercomposerwrotehisownCadenzasfor
thefirstandthirdmovementsfortheMozartwork.

Thereisanewdynamicintheopeningmovementshowinganantagonism
betweensoloistandorchestrawhichwouldfinallybecomethetouchstone
ofworkssuchastheBrahmsPianoConcertos.thestruggleofthisopening
movement is hardly resolved but merely peters out in a pianissimo
conclusion. This struggle reappears in the middle part of the central
Romance, one of Mozarts most simple but heavenly slow movements
whichbeginsandclosesinsuchpeacefulserenity.ThefinalAllegroisboth
passionate and dramatic with much chromatic writing, full of pessimism
untilthekeyturnstothemajorandaglimpseofoptimism.

TheEflatmajorConcerto(K482)issomewhatrareamongthecycleinthat
itisoneofonlythreeoftheConcertosthatsubstitutesclarinetsforoboes
andthatithasaslowmovementintheminorkey.Thelackofformalityin
this Concerto owes much to the opera The Marriage of Figaro on which
Mozartwasworkingatthesametime.Thisisoneofagroupofconcertos
allwrittenatthistimeanddirectlyconnectedwiththeoperatheothers
aretheonesinAmajor(K488)andinCminor(K491).Thisisareturntoa
simpler form of Concerto after Mozart perhaps feeling that his recent
workshadprogressedalittletoofarawayfromtheconservativetastesof
hisViennesepublic.Itisperhapsevenfairtosuggestthattheopeningand
closing movements of the Concerto are somewhat backward looking and
even routine. Routine is certainly not a word that could be used in
connectionwiththecentralAndanteinCminorwhichMozartwasobliged
torepeatasanencoreathisconcerton23rdDecember.Thisisamixture

95010MozartCompleteEdition
10


of arioso and variation which also contrasts major and minor keys in a
uniqueexpressionofsadness,despairandfinalconsolation.

PianoConcertoNo18inBflatmajor,K456PianoConcertoNo26inD
major,K537(CD20)
The invention of the modern piano began with Bartolommeo Cristoforis
gravicembalo col piano e forte in the period around 1709 with the
combination of aspects of the clavichord and harpsichord. From the
clavichordhetooktheideaofthestruckstringandfromtheharpsichord
the principle of dampers fitted with cloth. This aloud for a new range of
dynamics ranging between piano and forte together with the idea of a
pedal to dampen the sound. Those early instruments can be seen in the
early pianoforte housed now in the Metropolitan Museum in New York.
Despitethisearlyprototype,itwasnotuntilGottliebSchroterproduceda
Hammerklavier in Germany in 1717 which was then improved upon by
AndreasSteinnearlysixtyyearslater,thatthenewinstrumentreallybegan
tofindfavour.

Mozart in fact, visited Steins workshop and wrote to his father

enthusiastically about Steins own instruments claiming that these
instrumentshaveabovealltheadvantageoverothersthattheyaremade
with an escapement out of a hundred piano makers, not one worries
about this. Steins work was continued and improved upon by piano
buildersinEngland,FranceandGermanyincludingthosemadebyZumpe,
a favourite of the composer Johann Christian Bach. These were then
followedbytheinstrumentsofJohnBroadwoodinEnglandandthoseby
the Brothers Erard of Strasbourg which were to combine the benefits of
theEnglishandGermanactions.Thisprototypewastobeadoptedunder
licencebyfirmssuchasSteinway,BechsteinandPleyel.

Bynowtheharpsichordhadlostitspositionasfavouredinstrumenttothe
new pianofortes and as early as the 1770s Haydn and C. P E Bach were
writingforitinfavouroftheolderinstrument.Infact,Mozartwrotenearly
all of his keyboard music for the piano as did Beethoven and by the
beginning of the nineteenth century the harpsichord had become almost
redundantforthecontemporarycomposer.

MozartproducednolessthantwelvePianoConcertosintheyearsof1784
to 1786 as well as the six Haydn String Quartets and his opera The
Marriage of Figaro, perhaps the most prolific period in the composers
life. Of those Concertos, six date from 1784 including the B flat major
Concert (K 456). Long considered to have been composed for the blind
pianist,MariaTheresiaParadis,itisnowcertainthatMozartpremieredthe
ConcertohimselfinViennainFebruary1785.

TheConcertoisintheconventionalthreemovementformandopenswith
an Allegro Vivace that provides the main themes of the movement in its
openingintroduction,initiallyinthepianoandthenintheorchestra.The
development is littered with scale passages and gives way to an
accompanied cadenza and a final recapitulation. The Andante which
followsisasetofthemeandfiveconsiderablyelaboratevariationsanda
Codavariations,allsuffusedwithanelementofanxietyandevendespair.
Finally, the mood lightened for one of Mozarts buffo type Sonata
Rondos with a particularly dramatic central episode where the piano at
onepointplaysin2/4timeagainsttheorchestras6/8.

TheDmajorConcerto(K537)isMozartspenultimatePianoConcertoand
follows the series of twelve Concertos of 17841786 after a considerable
break. Dated 24th February 1788, it is commonly known as the
Coronation Concerto because it was played on 15th October 1790 in
Frankfurt during the celebrations for the accession of the new emperor
LeopoldII.

Theworkisindeedfestive,containingasitdoes,partsfortrumpetsand
timpani and manages to be both brilliant and at the same time rather
simple, posing no difficulties for the uninitiated listener of the time or
indeedtoday.ThesolopartoftheConcertoiswrittenmerelyasasketch,
often consisting of no more than a single line with only the final Rondo
accompanimentexistinginMozartsownautographversion.Itislikelythat
the full version of the Concerto was written down by Johann Andre who
published the first edition of the parts of the Concerto in 1794. Indeed,

despiteitspopularityandthetypicalMozarteanstampoftheConcerto,it
wouldseemthatthisisoneofMozartsleastconsideredworksandasign
that after the seriesof the great twelveConcertos of the previous years,
thecomposersthoughtshadmovedtotheformofthesymphonyrather
thantheConcerto.

Piano Concerto No14 in E flat major, K 449 Piano Concerto No 4inG

major,K41PianoConcertoNo27inBflatmajor,K595(CD21)
It is perhaps tempting to think of Mozarts fourteenth Piano Concerto as
thefirstinaseriesofthreeifonlybecauseoftheconsequenceofKoechel
numbersfortheConcertosinEflat,BflatandD.ThesethreeConcertos,
writteninViennain1784,beartheconsecutivenumbersofK449,K450
andK451.Yet,itwasthecomposerhimselfwhoclaimedthattheearliest
of the three was of a quite peculiar kind, being written for a smaller
orchestra consisting of strings, oboes and horns ad libitum rather than a
largeone.Intodaysterms,Mozartsideaofasmallerorchestramayseem
rather confusing compared say to the works of later Romantics such as
Rachmaninov or the excesses of Busonis large orchestral and choral
accompaniment to his somewhat singular Piano Concerto. Nevertheless,
thisEflatConcertoisaratheruniqueentryintheMozartcatalogue.

Thefirstmovementisitselfarestlesscompositioninthree/fourtimewhich
seemstomoveunpredictablyandtendstowardschromaticismwithmany
changesinvolumelevelsandharmonicstructures.Despitethecomplexity
oftheopeningmovement,theslowAndantinowhichfollowsnowseems
much calmer and simpler than its predecessor and the following Finale
marked Allegro ma non troppo, build on Mozarts experience in
contrapuntaltechniquesgainedfromhisearlierworks.

MozartskeyboardConcertoswerebasicallywrittenfortheearlyversionof
todayspianofortedespitetheeffortsofsomeperformerstoclaimcertain
worksfortheharpsichord.Infact,Mozartdidprobablyconceivetheearly
Concertos of K 107 and the first four in the numbered sequence of the
twentysevenmajorConcertosforaharpsichord.ThosefirstfourConcertos
are also works which contain not original music by Mozart but
transcriptions ofworks by other contemporary composers perhaps well
knownattheirtime,butnowadaysmostlyforgottenwiththeexceptionof
CPEBach.Mozartsownhouseholdcontaineditsownpianosandhewas
keenoninnovationratherthanrelianceontheoldertypesofinstruments.
The first early Concertos are all in major keys and follow a model of
pastiche that stretches to the present in works as diverse as those by
Stravinsky,WebernandBritten.

Completedin1767,thefourthofthePianoConcertos(K41)isinGmajor
andbaseduponmusicMozartwouldhaveencounteredwhilsttravellingin
Paris between 1763 and 1766. The opening Allegro as well as the final
MoltoAllegroisbasedonworkbytheStrasbourgbasedcomposerLeontzi
Honauer with a central Andante in G minor based on music by the St
Petersburg Kapellmeister Hermann Friedrich Raupach. Although these
earlyConcertosmayhavebenefitedsomewhatfromthehelpofMozarts
father, Leopold, they were conceived as travelling cards for the young
virtuosoplayer,Wolfganghimself.

PremieredonMarch4th1791,lessthanayearbeforehisdeath,Mozarts
B flat major Concerto (K 595) is the last of the twenty seven numbered
ConcertosforPianoandOrchestra.Althoughthedatesuggeststhatthisis
one of Mozarts last works, in all probability the Concerto was drafted
some time in 1788 whilst Mozart was working on his last three
Symphonies. As with many of the Piano Concertos and unlike those for
ViolinandOrchestrawrittenmuchearlier,thiswasclearlyaworkwritten
forMozarthimselfandonethatwasintroducedtothepublicwithoutany
undueformernotice.Itistemptingtoseethepieceasonepreoccupied
with death and it is certainly a serious work, but it should equally be
rememberedthattheyearsof1789and 1790hadbeenparticularlyhard
for Mozart, a time when his letters show that life had lost its former
meaningforhim.

TheveryopeningoftheinitialAllegrosetsamoodofsadnessbeneaththe
apparentlynormalsurfaceofthingsand thereareanumber ofrapidkey
changesandsurprisingdissonances,passagesofchromaticintensityandan
amazingclaritywithinthescoring.Energyissurpressedwithinthisopening

95010MozartCompleteEdition
11


movement and even more so in the following Larghetto, an almost
religious experience. The final Rondo too, marked as a conventional
Allegro,hasaqualityaboutitwhichsuggestsnotmerelyjoyfulnessbuta
feeling of resignation. The theme of the Rondo was to be used later in
MozartssongLongingforSpringandacknowledgesafeelingofoneness
withNaturewherethecomposerrelateshisownsufferingstotheglimpse
of one final Spring. It is perhaps inappropriate to attempt to impose
programmesonMozartsmusicbutthisfinalConcertoappearstosumup
thepastandlookforwardtosomesortofpeacefulfinality.

Piano Concertos for Three Pianos, K 242 Two Pianos, K 365 Concert
RondoinDmajor,K382ConcertRondoinAmajor,K386(CD22)
The earliest work on this CD is the Concerto for Three Pianos in F K 242
(sometimes referred to as Mozarts Piano Concerto no. 7) which was
composed for the sister of Archbishop Hieronymus Colloredo, Mozarts
employer in Salzburg, and for her two daughters. Mozart found teaching
irksome, but as hisfather Leopold nevertired of reminding him, it was a
necessary part of his daily routine, for it might lead to a lucrative
commission. Two of his pupils were Aloisa and Josepha (sometimes
referred to as Giuseppa) Lodron, nieces to Archbishop Colloredo. Their
mother,CountessAntoniaLodron,inresponsetoMozartsskillfulteaching
of her daughters commissioned various works from him including this
piece(composedinFebruary1776)whichwas,asusual,perfectlytailored
totheirabilities.IndeeditisnoticeablethatJosephawasthepoorerofthe
threeplayersasherpartscarcelyteststheaverageconcertpianist.Mozart
later rewrote the concerto for two soloists, presumably for his sister
Nannerl and he to play, and this arrangement was in his repertoire
followinghisarrivalinViennain1781.Justasthisconcertodoesnotplace
too many demands upon the players, neither does it place any great
demands upon the listener; the most memorable section is the middle
movement with its light accompaniment and amiable interplay between
thesoloists.

Mozarts employer, Archbishop Hieronymus Colloredo, has gone down in

historyinfamouslyasthemanwhohadWolfgangliterallybootedoutofhis
palace. It seems that Mozart had worn the Archbishops patience pretty
thin,forMozartwasalwaysarrogantandcheekyinhispresence,andalso
considerablyoutstayedhisleaveofabsencefromtheArchbishopsemploy
in order to oversee the premiere of Idomeneo in Munich. Colloredo has
also been characterised (not least by the Mozart family themselves) as a
skinflint, an allegation which perhaps has some validity since as
Braunbehrens writes in Mozart in Vienna 1781 1791 Wolfgangs salary
wasamere450florinsperannum,atatimewhenonestagecoachjourney
fromMunichtoViennacost50florins.Itshouldhoweverbenotedthatthe
Archbishopwasfondofmusicandwasalsoapassionatesupporterofthe
Emperor Joseph IIs enlightened views, in particular with regard to
educationalreforms.

ThereisevidencethattheConcertoforTwoPianosinEflatK365,usually
dated January 1779, might predate the Concerto for Three Pianos as the
cadenzasforK365werewrittenonsimilarpaperusedbyMozartforworks
knowntodatefrombetweenAugust1775andJanuary1777.Ifthe1779
dateiscorrectthenitmusthavebeencomposedforthecomposerandhis
sister to play following Wolfgangs unhappy return to Salzburg following
thefatefultriptoMannheimandParisduringwhichtheirmotherdied.The
scoringismoreadventurousinthiswork,twobassoonsbeingaddedtohis
regularforcesoftwooboesandhornsplusstrings.Followinghisarrivalin
Viennain1781Mozartexpandedthescoringstillfurther,addingapairof
clarinetsandtrumpetsandtimpanitothefastoutermovements.Oncein
ViennaheplayedthepiecewithapupilJosephaBarbaravonAurnhammer
(aladydescribedbyMozartinhistypicallyplainspokenwayasafrightbut
sheplaysenchantingly)attwowellattendedconcerts.Mozartsinvention
is in overdrive in this work with a multitude of themes that are barely
developed before they are discarded. Of particular interest is the Allegro
Rondo finale whose main theme takes a different harmonic turn at each
appearance.

Mozarts Rondo for Piano and Orchestra in D K 382 provides another

exampleofawork,inthiscasehisPianoConcertono.5inDK175,being
altered to suit the Viennese public taste. In this instance Mozart did not
merely rescore the work, he substituted an entire movement. He

introducedthisnewfinaleattheBurgtheateron3March1782ataconcert
which also included newly composed music for Idomeneo and an
improvisedfantasyforpianosolo.TheRondoK382successfullygavethe
Concerto in D a new lease of life and when the concerto came to be
published, Mozart chose to include the Rondo rather than the original
finale.AtoneconcertduringtheLentseasonin1783Mozartwasaskedto
repeat the Rondo and this movement has become hugely popular being
performed by itself as often as it is included within the concerto setting.
The scoring (for solo piano, flute, two oboes, two horns, two trumpets,
timpani and strings) is imaginative throughout and the melodies are
memorable. H C Robbins Landon likened the effects to toy trumpets and
drums and also draws attention to the fact that Mozart was quick to
assimilate stylistic qualities known to be appreciated by the Viennese
public,suchasthepopularfolklikestyleofHaydn.

Alsofrom1782comestheRondoforPianoandOrchestrainAK386.Often
linkedwiththePianoConcertoinAK414,ithaslongbeenconsideredto
have been the original finale to that work since it shares not only the
temperament of the surviving finale but also its key and time signature.
TheworkwasneverpublishedduringMozartslifetimebuttheincomplete
manuscriptwassoldbyhiswidowalongwithotherworkstoJohannAnton
Andre in 1799, who later resold it in England. The Rondo was then
arrangedforpianosolobyCiprianiPotterin1838asthevariousleavesof
theoriginalwerescattered.Asthedifferentpartsresurfaceditwaspieced
togetherbyPaulBaduraSkodaandSirCharlesMackerrasandpublishedin
1963. It is scored for piano solo, two oboes, two horns, strings and cello
obbligato.

CLARINET CONCERTO K622 CONCERTO FOR FLUTE AND HARP K299

(CD23)
Late works for wind instruments and orchestra are often described as
beingofanautumnalqualityandmoodandMozartsClarinetConcertois
noexception.ThisisMozartslastconcertoforanyinstrumentanditwas
completedinthelastyearofhisshortlife,in1791.Itmayseemstrangeto
thinkoflateworksbeingwrittenattheageofthirtyfivebutMozartslife
wasaveryshortone,crammedwithincidentandwithalistofwelloversix
hundred compositions.Shortinyearsperhaps,butthiswasacareerthat
producedanalmostincrediblylargenumberofworks,manyofwhichare
undoubtedmasterpieces.

It is to that category of superlatives that the clarinet concerto belongs.

Perhapsitisevenfairtoclaimthatthisisthefinestofallconcertosever
penned for the instrument and together with the similarly late Clarinet
Quintet, the work owes its genesis to Mozarts friendship with his fellow
freemason and clarinettist, Anton Stadler. It is however, perhaps, worth
notingthatalthoughtheconcertohasallthehallmarksofMozartsgenius
at its greatest, much of the original autograph has been lost, although it
appearsthatMozartoriginallysketchedaversionofthefirstmovementfor
Basset horn at the end of 1789. It was that instrument which originally
fired Mozarts inspiration and which was the forerunner of the modern
clarinetweknowtoday.

The Clarinet Concerto is composed in A major and consists of the three

conventional concerto movements two fast movements enclosing a
particularly fine slow, Adagio, movement. Not surprisingly, the Concerto
bears many similarities to the earlier Quintet composed for Stadler,
althoughthelaterworkexpressesthelyricalideasinamoredramaticand
fuller fashion whilststill maintaining the closest of relationships between
the soloist and the orchestra. The lively opening Allegro is the longest of
the three movements whilst the central Adagio is one of Mozarts finest
mature inspirations, never allowing the orchestra to dominate the
clarinets song and maintaining a transparency of scoring. The final
movementisajoyfulRondoalthoughnowheredoesMozartallowhimself
toresorttovirtuosityforthesakeofoutwardshow.

MuchofMozartsearlylifewastakenupwithtravelling,oftenunderthe
auspices of his father and together with his sister and although the
friendshipwithStadlerinlateryearswasauniquepartnershipthatledto
the two great clarinet works, these early journeys often led to the
opportunities to accept commissions and compose works for specific

95010MozartCompleteEdition
12


players.In1777,histravelstookhimtotheElectoralCourtatMannheim
acentreforthenewconcertantemusicofearlyGermanclassicismaswell
as to the French capital of Paris. Mannheim was the reason for the
compositiontocommissionofthefluteconcertoinG(K313)whilstinParis
he set about work on a Sinfonia Concertante for four professional wind
players(Wendling,Ramm,RitterandPunto)intendedforperformanceat
theConcertsSpirituelsinthatcity.

TheSinfonia,writtenforprofessionalswasfollowedbyacommissionfora
simplework(intheeasykeyofCmajor)fortwoamateurstheDukeof
Guines, a proficient amateur flautist, and his daughter, the Duchess who
Mozart claimed played the harp magnificently. The combination of
instrumentsisperhapsanunusualoneandalthoughMozartprofessednot
tobetookeenonthefluteassoloinstrumentandconsideredtheharpto
be little more than an extension of a keyboard instrument, the resulting
Flute and Harp Concerto isone of Mozarts most successfuland sunniest
occasionalpieces.Theworkis,perhapsnecessarily,simpleinitstechnical
demands and somehow typical of the French style whilst remaining
suitableforthesettingsenvisagedforitsperformance.

The Flute and Harp Concerto follows the usual three movement pattern
and is scored for a small orchestra including oboes and horns. Although
Mozart is on record as considering the young Duchess to be somewhat
stupidandlazy,heproducedasubtlecombinationofthetwoinstruments,
neverdrownedbytheorchestrawhetherintertwiningtheirownmelodies
or playing against the full tutti. The original cadenzas for the work have
been,unfortunately,lostbutthereisenoughcharmandanabundanceof
lightthemestoensuretheopeningAllegromakesitsgraciouseffect.The
followingAndantinoisscoredagainstdividedviolasandwiththeabsences
ofthehornsandoboesbutmaintainingarichandsensuousatmosphere.
Finally,theconcludingRondeauisintypicalFrenchstyleinthetempoofa
courtlyGavotte.
Dr.DavidDoughty

FLUTECONCERTOSANDANTEFORFLUTE&ORCHESTRA(CD24)
The18thcenturywasespeciallyalsoinGermanythetimeofarealflute
mania. For many consecutive years the demand for compositions for the
flute were so great that composers as well as publishers often remarked
thatpieceswrittenforotherinstrumentscouldalsobeadaptedforflute.In
Schiller's "Kabale und Liebe" the Major has a "Lesson on tbe flute". And
eveninGoethe's"ElectiveAffinities",nobledilletantesdivertedthemselves
oncongenialeveningswiththesoftsoundsofthe"Flutetraversire".

Mozart met one of these flute lovers when he stopped in Mannheim

betweentheendofOctober1777andthemiddleofMarch1778,whenhe
undertook his journey to Paris. In a letter to his father in Salzburg, he
informed him of the commission from the Dutchman Ferdinand Dejean
whogavehim200Guilderstowrite''3small,lightandshortconcertosand
apairofquartetsfortheflute".

Thepromisedpaymentmusthaveinterestedthe21yearold.ButMozart
didn't like the flute very much, perhaps because of the frequent
fluctuationsinintonation.Besidesthat,becausehewasatthattimehead
overheelsinlovewiththesingerAloysiaWeber,hedidn'thavemuchtime
to think of music. At any rate, he only partially fulfilled Dejeans
commission; before his departure for Paris he received only 96 of the
promised200Guilders.

Researchers still wonder today if Mozart actually composed a flute

concerto for Dejean in Mannheim. But the facts are dear about the
ConcertoinDmajorK314whichthe21yearoldwroteinthesummerof
1777fortheItalian GiuseppeFerlendiswhowasresidentoboistwiththe
SalzburgCourtOrchestra.BecauseMozarthaditwithhiminhisbags,he
usedtheopportunitytopreparethepiecetransposedfromCmajortoD
majorfortheflute.ButwiththeConcertoinGmajorK313there'saslight
problem.ItsprobablyidenticaltoalostconcertothathecomposedinJuly
1777forthenamedayofhissisterNannerl.Atanyrate,itapproachesthe
SalzburgSerenadesandDivertimentiwithitsmarchliketuttithetheme
of the first movement and the uncomplicated serenade motifs in the
RondoFinale. And so it's probable that Mozart delivered existing

(rearrangedorcopied)concertosorscorestoFerdinandDejean.Theonly
compositioncertainlyfromthetimehespentinMannheimistheAndante
in C major K 315. Maybe he wanted to give the Dutch fluteIover a
substitute for the technically difficult or musically too exacting middle
movementoftheConcertoinGmajorK313.

What's left to be mentioned is the fact that Mozart remembered the

themes from the refrains in the RondoFinale of the Flute Concerto in D
major four or five years later. In his opera "The Abduction from the
Seraglio",heputitinthemouthofBlond,barelytransformed,intheAria
"WelcheWonne,WelcheLust."
HansChristophWorbs(TranslatedbyDannyAntonelli)

OBOE CONCERTO K 314 SINFONIA CONCERTANTE FOR WINDS K 297

BASSOONCONCERTOK191(CD25)
Most of Mozarts Wind Concertos can best be described as occasional
pieces,composedoncommissionsfromprofessionalandamateurplayers,
oftenwiththeexpresspurposeofprovidingincomefortheircomposerand
satisfyingaparticulartrait,tasteortalentoftherecipient.Inthisrespect
they are very different from the Piano and Violin Concertos. The major
exceptionisthelateClarinetConcerto(K622)writtenforMozartsfellow
freemasonandfriend,AntonStadler.Stadlerwastohaveagreatinfluence
on Mozarts writing for the clarinet, including the notable solos for the
instrument in the final Italian opera La Clemenza di Tito. This Concerto,
together with the companion Clarinet Quintet (K 581) stands as one of
Mozarts undisputed masterpieces. That being said, the earlier Concertos
allhavesomethingindividualtosayforthemselvesandoccasionallyreach
considerablepeaksofinspiration.Hardlythemostobviousofinstruments
for a solo Concerto, Mozarts first Wind Concerto is nevertheless written
for the Bassoon. The grumbling, growling giant can, however, be an
affectionateandwittyinstrumentandthatishowMozartobviouslyseesit.
It is significant too, that despite his less than conventional choice of solo
player, the Concerto has something about it that shows the piece is
throughout conceived only for the Bassoon with its own very definite
characteristics.ThisisMozartsonlyConcertofortheinstrumentanditwas
composed in Salzburg in 1774 for the composers friend and amateur
playerofthebassoonandthepiano,ThaddaeusvonDuernitz.Mozartdid
laterwriteabassoonsonataforhisfriendaswellasseveralpianopieces
including three of his Concertos. The work is in the three conventional
movements for a Concerto of the time (Fast Slow Fast) and generally
light hearted and playful in the opening Allegro and final French styled
Rondo, with lots of leaps and jumps and runs for the soloist and sweet
singingtonesevidentinthecentralAndante.

MozartsCmajorOboeConcerto(K314)waswrittenintheSpringof1777,
before his departure for Augsburg, for the Salzburg oboist, Giuseppe
Ferlendis.WhenMozartreachedMannheimattheendofOctober,hemet
the oboist Friedrich Ramm and made a present of the new Concerto to
Ramm, who immediately took up the new work and played it several
times.ItwasthenlatertranscribedforfluteforMozartsamateurpatron
theDutchmanDeJeanwhereitappearsasaConcertoinDmajor,resultof
acommissionthatMozartwasunableorunwillingtofillwithanewwork
forreasonsoftimeandmoneyorperhapssimplybecauseofhispersonal
dislikeforthefluteasasoloinstrument.Althoughplanswereafootforat
leasttwofurtherOboeConcertos,bothtobeinFmajor,onlyfragmentsof
thoseworksexistandthustheCmajorConcertoistheonlycompletedone
fortheinstrument.

TheConcertoisinthestandardthreemovementformwithanAndanteat
the centre of the opening Allegro and concluding Rondo. Scored for an
orchestraconsistingoftwoadditionaloboes,twohornsandstrings,theF
major Andante ma non troppo is one of Mozarts sublime song
movements.ThefinalRondoisajoyfulAllegroledoffbythesoloistandit
isinterestingtonotethesimilaritiesbetweentheprincipalthemeofthat
final Rondo and the later aria for the soprano Blonde in Mozarts first
successfulGermanSingspielDieEntfhrungausdemSerailofsomefive
yearslater.

TheideaoftheSinfoniaConcertanteissimilartotheearlierConcertiGrossi
oftheItalianBaroqueandalthoughHaydnproducedhisownworkinthe

95010MozartCompleteEdition
13


styleandJ.C.Bachproducedmanysuchworks,Mozartmovedawayfrom
the form towards Concertos for solo instruments. Nevertheless, he did
leave us his Concertone of 1773 and two works named Sinfonia
Concertanteone,anundoubtedmasterwork,forViolinandViola(K364)
and an earlier work for Flute, Oboe, Horn and Bassoon. This Sinfonia for
Windsdatesfrom1778andwaswrittenspecificallyforfourlocalplayers
Wendling(Flute),Ramm(Oboe),Punto(Horn)andRitter(Bassoon).These
were musicians at the Mannheim Court except for Punto who was a
travellingplayer.Thisoriginalversionisunfortunatelylostandtheworkis
nowknowninitsversionforOboeandClarinetinsteadofFluteandOboe.
Of a virtuoso kind with prominent attention given to the soloists, it lies
somewhere between a Concerto and a Symphony with obbligato. The
highlightofthepiececomesintheslowmovementbutthefinalsetoften
connectedvariationsincludingoneforeachofthesoloinstrumentsisthe
displaypointofthework.
Dr.DavidDoughty

HORNCONCERTOS(CD26)
The hunting hornist makes a noise and wakes hunters and prey alike.
His style is repellent and always hopping to different beats. The temple
hornistweeps,extractsthenotesfromthedepthsofhissoulandalso,with
hisbreath,inspirestheentireinstrumentalaccompaniment.Intheconcert
hallandtheoperahousethehornistcanbemadetoproduceinnumerable
expressive effects. He is equally effective at a distance and close up.
Loveliness and if one may express it thus friendly cosiness is the basic
toneofthissplendidinstrument.Nothingismorecapableorskilfulthanthe
horn at echo effects. Therefor the study of this instrument is highly
recommendedforacomposer.

This was the recommendation made to the future composers by the

German composer Daniel Schubart (17391791) in his Ideen zu einer
sthetik der Tonkunst (Ideas for a Musical Aesthetic; 1784).Wolfgang
AmadMozartwouldsurelynothaveneededsuchadvice,however;even
when he was a child, he was fully acquainted with the mellow horn
sonorities produced by the family, Joseph Leutgeb (17321811), who was
almostaquarterofacenturyolderthanMozart.WhenMozartwasyoung,
thisfamous(orinfamous)hornvirtuosowasemployedbytheHofkapellein
Salzburg;laterhesettledinVienna,wherehetriedtocombinehisworkas
a freelance hornist with running a cheese shop. Here Mozart met him
again,inMarch1781.Intheremainingtenyearsofhislife,thecomposer
set to work on no less than six horn concertos; the four famous ones, K
412,417,447an495,asketchedRondoinEflatmajor,K371,withfurther
sketches for a first movement that was in all probability intended to go
withit,K370b,andalsothetorsoofalargescaleconcertoinEmajor,K
494a.atalltimesLeutgebwasatargetofMozartsmockeryandteasing.
Forinstance,themanuscriptoftheconcertoinEflatmajor,K417,contains
thefollowingratherunflatteringdedication:WolfgangAmadMozarthad
mercyonLeutgeb,sillyass,oxandfool,inVienna,27thMay1783.Forthe
concertoinEflatmajor,K495,whichMozartlistedinhisowncatalogueof
workson26thJune1786,heusedfourdifferentcolorsofinkasajoke:red,
green,blueandblack.Inthemanuscriptoftherelativelysimplesocalled
First Concerto, K 412 (which is in reality Mozarts last composition for
horn, from the year of his death, 1791), the composer even amused
himselfbywritingextremelyvulgarcommentssuchasOh,yourballshave
driedup!Ohyoumiserablebastard!aboutthehornvirtuoso,whowas
bynownearlysixtyyearsoldanweary.

Mozarts horn concertos are still among the finest achievements in horn
literature, although they only constitute a very modest part of his total
output. The pieces were often written on loose, probably spare pages in
heavily compressed handwriting, and the two violin parts are often
notatedononeline.Indicationsofarticulationandeventempoareoften
missing. The numerous points of harmonic, melodic and structural
correspondencebetweenthehornconcertossuggestthatMozartdidnot
takethisgenreespeciallyseriously.

From Konstanze Mozarts letters from 1880 about the planned complete
edition of her late husbands work, which was to be produced by the
publisher Johann Anton Andr in Offenburg, it emerges thatsome of the
manuscriptmaterialofthehornconcertoswiththeexceptionofthatof

theconcertoinEflatmajor,K447(c.1787)hadalreadygoneastray.Long
passagesfromtheconcertosinEflatmajor,K417andK495,weremissing,
andthesecouldonlybereconstructedwithgreatdifficultyonthebasisof
theexisting,farfromreliablecopies.AsfortheconcertoinDmajor,K412
(1791),MozartonlylefttheopeningAllegroandascoresketchofarondo
finale.Thecomposersearlydeathwasnodoubtthereasonwhyhedidnot
write a slow middle movement. The rondo was completed by Mozarts
pupil Franz XaverSmayron GoodFriday, 6th April 1792, in a very free
manner.Henotonlytooknonoticeoftheoriginalaccompanimentbutalso
replaced the original middle section by a paraphrase of the Gregorian
melody to the laments of Jeremiah, which are sung on Good Friday.We
may assume that he only had Leutgebs copy of the horn part at his
disposal.Neverthelessitwasnotuntilthe1970sthatthisfamiliarversion
(K 514), which has scarcely more than the rondo theme in common with
theoriginal,wasshownnottobeMozartsownwork.

As for the Concerto Movement in E major, K 494a (178586) (Which in

termsofstructureandmusicalcontentcanbecomparedthegreatpiano
concertos), around 1800 only the 91 bars preserved today were known.
This fragment comprises an almost completely scored orchestral
introductionaswellasthebeginningofasolosectionofwhich,however,
onlythefirstbarspossessanaccompaniment.Itispossiblethatthepages
have been lost before 1800, but it seems more plausible that Mozart
himself, upon closer consideration, laid the work aside. An introductory
ritornello on such a grand scale implied a major concerto with a total
duration of about half an hour and, in view of the possibilities of the
natural horn of the period, would have been almost an impossible task
both for the composer and also for the hornist. Whether the hornist in
questionwasLeutgeborsomeoneelsecannolongerbedetermined.

In the 19th century no particular value was attached to the two existing
movementsoftheConcertoinEflatmajor,K370b/371(1781),whichlike
theRondoinDmajor,wasmostlypreservedinsketchedform,i.e.melody
andbasspartsonly.In1865themanuscriptoftheopeningmovement,was
even cut up by Mozarts eldest son, Carl Thomas (17841858) and the
pieces were given away as Mozarts mementoes to mark the 100th
anniversaryofhisfathersbirth.Alargenumberoftheseoftenveryshort
fragments have only come to light in recent decades. The Neue Mozart
Ausgabe(1987)mentionssevenfragments,scatteredallovertheworld;an
eight,whichforsometimehasbeenkeptattheStadtbibliothekinLeipzig
wasonlyidentifiedrecentlysothattodayweknowatotalof136bars,
some 75% of the movement. TheRondo, K 371,was alsofor a long time
not as complete as was generally imagined. Although the movement
seemed structurally odd and untypical of Mozart, and although the
composerexpresslynoted269barsattheendofamovementwhichonly
contained209 bars,nobodynoticedthe gapbetweenbars26enbars27
(accordingtotheNMAnumbering).Notuntil1990didasheetcontaining
four pages of scorecome to light, including the sixty missing bars, which
belongedwiththefirstofthefoursheetsthathadalwaysbeenknown.

This fragmentary concerto, K 370b and K 371, represent Mozarts first

attempt at writing a horn concerto. Its musical content differs markedly
from that of the later concertos: the character of the first movement is
more declamatory than lyrical; the Rondo (dated Vienna, 21st March
1781),unlikehislaterfinalesin6/8time,containsnohuntingeffectsbut,
liketherondooftheHornQuintet,K407,iswritteninneutral2/4time.
Thesolopart,whichsoundsthinonthenaturalhorn,seemsespeciallyodd,
asitcontainsaseriesofdemandingstoppednoteswhicharenotfoundin
the later horn concertos which were certainly written for Leutgeb. It is
possiblethatMozart,whencomposingthisexperimentalconcerto,hadin
mind Fritz Lang, the hornist who played at the premire of his opera
Idomeneo(firstperformedinMunichon29thJanuary1781),whohadto
cope with similar difficulties in the important horn solo in the aria Se il
padreperdei.Whateverthetruthmaybe,Mozartprobablylosttouchwith
LanginVienna,andthesolopartofthisunfinishedconcertowasevidently
totallyunsuitedtoLeutgeb.

On the basis of analyses of similar passages in other works of Mozart, I

haveattemptedtoworkupallofthesefragmentsintoplayable,practical
versions,sothattheyareaccessiblenotonlyformusicologistsbutforany
music lover. The rondo finale of the Concerto in D major was completed

95010MozartCompleteEdition
14


according to Mozarts own example and, in accordance with the first
movement,wasscoredfortwooboes,twobassoonsandstringorchestra.
The preserved fragments of K 370b were placed in order, the missing
sections were reconstructed (though the development section, which is
mostly missing, could only be completed in a very hypothetical manner)
and,togetherwiththeRondo,K371,thepiecewasorchestratedinastyle
similartothatoftheoperaIdomeneofromthesameperiod.Thefragment
inEmajorwasroundedoffinthemannerofthefamiliarMozartconcertos.
Of course such reconstructions, or completions, can never bear
comparison with genuine compositions of Mozart. It is to be hoped,
however,thattheseversionsoftheconcertofragmentsinEflatmajor(K
370371)andEmajor(K494a),whichrespectivelyrepresentMozartsfirst
attempt at a horn concerto and the torso of an unfinished masterpiece,
willhelptoexpandouroverallviewofMozartsliteratureforhorn.
HermanJeurissen1997

VIOLINCONCERTOSNO.1K207,NO.2K211,NO.3K216(CD27)
Mozartwas,himself,aviolinistofnomeantalentanditishardlysurprising
thathisworkscontainalargeoutputforviolinsolo.Aswellasaseriesof
Violin Sonatas, he composed a Sinfonia Concertante (one of his great
masterpieces) for Violin and Viola, a Concertone for two violins, several
movementsforsoloviolinandorchestrawithinhisSerenadesandthefive
indisputable Concertos. The two further Concertos (often referred to as
Numbers 6 and & 7) are of doubtful authorship and certainly mark no
musicalimprovementontheearlierfive.

ThefiveConcertos(andparticularlythelastthree)arenotonlyamilestone
of the form of the time but also standard works of the present day
repertoire. Generally considered to have been written in one spurt of
energy between April and December in 1775, it is now thought that the
first of the series may well date from asearly as 1773, the same time as
theConcertonementionedaboveandthusmakingthematurityofthefirst
oftheConcertosanevenmoreremarkablefeatoftechnicalcommand.

Mozart had become Leader (or Concert Master) of the orchestra of

ArchbishopColloredoofSalzburginNovember1770,apositionhewould
cometodislikebecauseofhisdislikeofthesomewhattetchyArchbishop
himself. The position meant that he would have been expected to write
something for his own instrument whilst in service. By the time he set
about composing the Concertos, Mozart would have known the violin
compositions of Locatelli and Tartini as well as other composers he had
encountered on his trips to Italy and these influences can certainly be
found in the first of the Concertos in B flat (K207). As in the remaining
Concertos,thispieceeschewsanyelementsofvirtuosityfortheirownsake
andconcentratesonamoreseriousidealeventhoughtheideascontained
in the work may not be especially originally or indeed Mozartian in
themselves.ThisfirstConcertofollowstheusualthreemovementformof
Fast Slow Fast movements although a couple of years later, in 1776,
Mozart replaced the rather conventional Sonata form final Presto with a
moreadventurousmovementintheformofaRondo(K269).

Ifthenewevidence,basedonpaperdating,placesthefirstConcertonow
in1773,thentwoyearsfollowedbeforeMozartwrotehissecondConcerto
(K211)inDmajor,alonggapconsideringthatalltheremainingConcertos
would be written in such a short space of time. However, this D major
Concertoshowsamarkedadvanceonitspredecessorinthatitendswitha
Rondo (or French Rondeau) in its original version. Despite that, the
opening movement (Allegro) still owes much to Haydn and lacks totally
memorable thematic material. The following Andante also seems less
imaginativethanthecomparablemovementintheearlierworkandislittle
more than a simple song from a light opera with a very straightforward
accompaniment,moreinthestyleofsomeoftheearlierItalianConcertos
Mozart would have made his acquaintance with. But it is the final
movement that points to the later Rondos of the composer. The soloist
opensthemovementandthentheorchestrarecapitulatesthatbeginning
andtherefollowssectionsintheminorkeyandinmorevigorousmood,all
dealingwithfreshoriginalityeachtimethethemeappears.

Itishowever,withthethirdoftheConcertosthatMozartseemstoreach
technical and artistic maturity in the form. Despite the same simple

accompanimentsandthelackofvirtuosity,thistimethepiecesoundslike
Mozartandnobodyelse.Theearlystylisticborrowingshavegoneandthe
composerhasfoundhisowninimitablevoice.Togetherwiththefollowing
twoConcertos,thisisthecoreofMozartsviolinwriting.

ThethirdConcerto(K216)wascompletedonSeptember12th1775andis
in the key of G major. There is a newsort of interplay now between the
soloistandorchestraandaftertheopeningAllegrowithitsrecapitulation
prefacedbyafinerecitativopassage.Therecomesaparticularlybeautiful
Adagio which seems to borrow from the French style of the time. This
French aspect again comes to the fore in the final Rondo (all the later
Concertos now end with a Rondo movement) where passages in various
tempialternate.Alivelymomentinthreetothebarquaversisinterrupted
by an Andante in G minor which then leads to an Allegrettosection in G
major.MozarthasfoundhisinspirationandtheGmajorConcertoisoneof
the highlights of the set which will lead to still greater things and the
undoubtedmasterpiecesofthefinaltwoConcertos.
Dr.DavidDoughty

VIOLINCONCERTOSNO.4K218,NO.5K219ADAGIOINEMAJORK261
RONDOINBFLATMAJORK269RONDOINCMAJORK373(CD28)
Mozarts five numbered Concertos for Violin (and particularly the last
three)arenotonlyamilestoneoftheformofthetimebutalsostandard
works of the present day repertoire. A further two Concertos, often
referredtoasNumbers6and&7datefromJuly1777andtheendof1780
respectively,butareofdoubtfulauthorshipandcertainlymarknomusical
improvement on the earlier five to suggest they may be the work of
Mozart. In fact, it is fairly certain that most of the E flat Concerto was
written by a young Munich violinist, Johann Friedrich Eck, working from
sometentativesketchesbyMozartoftheoutermovements..

Mozart had become Leader (or Concert Master) of the orchestra of

Archbishop Colloredo of Salzburg in November 1770, a post he would
cometodislikebecauseofthesomewhattetchyArchbishophimself.The
positionmeantthathewouldbeexpectedtowritesomethingforhisown
instrument whilst in service. By the time he set about composing the
Concertos,MozartwouldhaveknowntheviolincompositionsofLocatelli
andTartiniaswellasothercomposershehadencounteredonhistripsto
Italy. The five Concertos indisputably by Mozart are generally considered
tohavebeenwritteninonespurtofenergybetweenAprilandDecember
in 1775, although it is now thought that the first of the series may well
date from as early as 1773, the same time as the Concertone for two
violins.

ItiswiththethirdConcerto(K216)inGmajorthatMozartseemstoreach
technical and artistic maturity in the form. In spite of simple orchestral
accompanimentsandthelackofvirtuositytypicalofalltheConcertos,this
isobviouslytheworkofMozartandnobodyelse.Theelementofstylistic
identity applies equally to the fourth and fifth Concertos, both on an
equallyhighlevelofinspiration,ifnotevengreater.

The D major Concerto (K218) is at once more sensuous then its

predecessorandisbasedonaConcertobyBoccherini(17431805)inthe
same key and composed some ten years earlier. The Mozart Concerto
owes much to the earlier Italian work not only for its brilliant key of D
majorbutalsotoasimilarstructuralplanandeventothematiclinksaswas
discovered by the musicologist ZschinskyTroxler in his analysis of the
piece.

TheConcertoisintheusualthreemovementformwithacadenzaatthe
end of the first movement.Mozart however adds a luxuriance to the
scheme not altogether to be found in Boccherinis original concept. The
openingbeginsforcefullywithasolemnorchestralpreludebutthesoloist
soon adds playfulness and wit to his repertoire. The Andante slow
movement that followsisin an almost polonaise typeofrhythm and has
the feeling of an extended love song, one of Mozarts most serene and
winninginspirations.Theviolintakesuptheopeningthemeandweavesa
plaintive melody over the subdued orchestral accompaniment. Finally, a
RondomovementintheFrenchstyleendstheConcerto(ascustomaryin

95010MozartCompleteEdition
15


theseworks).ThatFrenchelementseesMozartweavetwodancesintothis
sectionaGavotteandaMusetteintripletime.

The final Concerto (K219) is in A major and was completed in December

1775. Aswell as the French styleof thefinalRondos, the last movement
contains elements of the Turkish style that fascinated the composer and
his contemporaries a style that would find its successful home in the
comic opera The Seraglio. The Concerto is also noteworthy for the extra
emphasisMozartgivesheretohisorchestralaccompaniment.

The first of the three movements is an Allegro aperto and is almost

improvisatory in the solo part the piece may be based on a Piano
ConcertoinDmajorpublishedin1772byPhilippEmmanuelBach.Thereis
an interplay between March rhythms and a more down to earth
atmosphere.ThecentralAdagioisoneofMozartssimplermovementsand
is one of the gems amongst the composers slow movements. The
concludingRondeau(sic)ismarkedasbeinginthestyleofaMinuetbutits
mainthemeisinterruptedbyafieryHungarianstyledancesectionandby
an A minor outbreak of sound and fury in the Turkish style of the time,
borrowed from an intermezzo from a ballet sequence, Le Gelosie del
serraglio taken out of Mozarts earlier opera seria Lucio Silla, written in
1773forMilan.ThisfinalConcertoofthesetoffivewascompletedwhen
Mozart was only twenty years old and marks a high point of the
composerssurprisinglyearlymaturity.
Dr.DavidDoughty

SINFONIACONCERTANTEK364CONCERTONEK190(CD29)
Prolificashewasinmostfieldsofmusic,Mozartcompletedsometwenty
seven Piano Concertos throughout his lifetime together with a clutch of
five Violin Concertos all written by the time he was twenty when he
seemed to have made his say in that form. In addition, he composed
several Concertos for solo wind instruments and a group of Concertante
works for various combinations of instruments, a development of similar
works that had been popular particularlywith the Italian Baroque School
composerssuchasVivaldi.

Mozarts solo Violin Concertos plot the path to maturity from the rather
conventional B flat major Concerto (K207) written probably around the
timeoftheConcertonefortwoViolins(K190)ofMay1773rightthroughto
the masterpiece that is the A major Fifth Concerto (K219) completed in
December 1775. That Mozart then decided not to complete any further
ViolinConcertosmayseemstrangeinthelightofthesuccessofthesefive
works and also the fact that he was a competent Violinist himself. There
areindeedsketchesfortwofurtherConcertoswhichhavebeenexpanded
into full works but remain of dubious provenance. However, one great
masterpiecewasstilltocomeandthatistheSinfoniaConcertante(K364)
forViolinandViolawhichMozartwrotesomefouryearslaterinSalzburg
andwhicharguablystandsashisfinestworktodate.

ApreviousworkwiththesametitlehadbeenwrittenbyMozartin1778in
theMannheimstyleforacombinationofflute,oboe,hornandbassoonas
well as a Concerto for Flute and Harp (in effect another Sinfonia
Concertante)writteninthesameyear.Thesepreparatoryworks,attractive
astheyaregivelittleindicationofthesubtletiesanddepthsoffeelingsthat
Mozartwoulduncoverinhislaterworkforthetwostringedinstruments.

It is also worth mentioning that although a much inferior work, Mozart

envisaged a Concerto for two Pianos written for himself and his sister at
thesametimeandinthesamekeyofEflatmajor(K365)asacompanion
piecetotheSinfonia.TheSinfoniaConcertanteopenssignificantlywithan
AllegroMaestosothisisnomorethelightheartedstyleoftheopenings
of the earlier Concertos, but now a truly symphonic attitude has taken
over. The second subject here is particularly noteworthy in the way that
the oboes answer the motive in the strings and there is a powerful
orchestralcrescendo,againunusualinMozartsConcertospreviously.The
secondmovementisanAndanteinthekeyofCminorwithamodulation
intoEflatmajor,accentedbythedeepestoffeelings,threadingwhispsof
themostheartrendingmelodybetweenthetwosoloistsandtheorchestra
a melody that in later years may be recognisable as the basis of a well
knownpopularsong.Finally,thePrestothatroundsofftheworkismarked

tobeplayedinthetempoofaContradanse.Thisisamovementwherethe
strangelyunexpectedseemstotakeprecedenceovertheexpectedsuch
as, for example, the very first entrance of the soloists. The form of the
movementisaSonataRondoandtakesthemusicawayfromthedepthsof
feeling of the Andante to a realm of brightness, but with an element of
drama too. Notable also for the Sinfonia Concertante are the facts that
Mozartwrote out his own cadenzas short and to the pointas they are.
Also,theViolapartiswrittentobetunedhalfatoneup.

HardlyinthesameleagueasthegreatEflatwork,theearlierConcertone
or,literallyLargeConcerto(K190)datesfromMay1773andfeaturestwo
violins as soloists together with oboe and cello and an orchestra which
features divided violas. The piece is full of lively imagination and is a
remarkableachievementforaboyofonlyseventeen.BothMozartandhis
father, Leopold, were pleased with the piece and it was performed in
LondonandinParis.Theworkis,asusual,inthethreemovementstypical
oftheConcertosofthetime.Itopenswithalivelyfastmovementwhere
the relative absence of the cello is somewhat noteworthy. This is then
followed by an Andante grazioso where the four instruments become a
quartetagainstthe orchestraandfinally,aquickMinuetstylemovement
rounds off the work. The Concertone is obviously an immature work in
comparisontothelaterViolinConcertosortheSinfoniaConcertante,butit
doesshowMozarthandlinganddevelopingtheoldformsoftheConcerti
Grossi of a composer like Corelli with imagination and technical
confidence.
Dr.DavidDoughty

DIVERTIMENTIANDSERENADES(CD3039)
AsubstantialpartofMozartsoeuvreconsistsofworksthatmaybecalled
entertainment music. Most of these pieces were composed for festive
occasionsinSalzburg,suchasnamedays,birthdays,NewYearsfestivities,
weddings, or traditional celebrations at the conclusion of the academic
year. There are indications that a number of them were meant to be
playedoutofdoors,inarusticgardensettingwithpartyguestsenjoyinga
drink or a meal. Many of the easygoing works were labelled
Divertimento, others Serenade, Cassation or Notturno. There is no
sharp dividing line between these genres, although Divertimenti were
generallymeantforperformancebyarelativelysmallensemble,whilethe
othertermscouldimplyorchestralperformance.

All music of this entertaining type is characterised by a loose multi

movement structure and a relaxed gait.Moments of dramatic tension, as
theysooftenappearinsymphoniesorquartets,areabsent,saveforafew
exceptions.Dancelikerhythmsprevailandharmoniesarekeptwithinthe
conventionalboundariesofpopularmusic.ThekeyofDmajorisdominant.

Artisticchallenges
Most of Mozarts Divertimenti and Serenades were composed in the
seventiesoftheeighteenthcentury,whentheyoungcomposerwasstillin
the service of the Archbishop of Salzburg. In general, these were
depressingyearsfortheeverambitiousandenergeticMozart,whoatan
earlyagehadvisitedthemajorcourtsandcapitalsofEurope.Herealized
thattheculturalclimateinhisnativecitywasanythingbutbeneficialforan
artistofhiscalibre,andhefeltthatintheprovincialSalzburghistalentwas
stifled.Theresisnoroomhereforsomeonelikeme,hesadlywrotetohis
teacher Martini in Italy, and music is not at all appreciated here.
Opportunities for exposing his skills were indeed limited and Mozart
longed for the outside world. He was chained however to his routine
activitiesinthechapel.Itwasinthisratheruneventfuldecade(17691779)
thathecomposedthebulkoftheDivertimentiandSerenadescollectedin
thisalbum.

Mozarts music of this nature waswelcomed for manysocial purposes in

Salzburg,bothindoorsandoutdoors.Thelight,entertainingcharacterwas
appreciated by the many Liebhaber that crowded the town, and Mozart
enhanced the diverting spirit by using folklike theme types and keeping
harmonies and forms extremely simple. Nevertheless, he succeeded in
creating a balance between grace and decorum on one side, and subtle
innovationsontheother,andtheseartisticchallengesresultedinastylistic
conglomeratethatwastofascinatebothLiebhaber(musicalamateurs)and

95010MozartCompleteEdition
16


Kenner(musicalconnoisseurs).Animportantformalprocedureforbridging
thesedifferentlevelswastheregularintroductionofconcertantewriting.

DidMozarthimselfdifferentiatebetweenDivertimentoandSerenade?It
seemsthathedidnot.Bytraditionaserenadehadamorousconnotations,
butinMozartstimeserenadinghadevolvedintoasummercustominfree
nature.Acharacteristicdevicewastheintroductorymovement,whichwas
generallyinmarchrhythm;inmanycasesthisopeningwasrepeatedatthe
endofthework.Serenadesalsotendedtoconsistofaflexiblenumberof
movements,sometimeseveneight,whiledivertimentiingeneralfollowed
thefixedsequenceoffourmovements(fastminuetandtrioslowfast)
familiarfrom symphonies and quartets. In some cases however a second
minuet was inserted after the slow movement.Mozart felt free from
tradition,inthisrespect,andthesamewastrueforthewayhedesignated
hisworks.

Finalmusik
A number of works in these genres were designed for the celebrations
markingtheendoftheacademicyearatSalzburgsBenedictineUniversity.
Such works were traditionally labelled Finalmusik, a term that was often
usedbybothMozartandhisfather.TheearliestFinalmusikwastheseven
movementCassation(DivertimentointheKchelVerzeichnis)inGmajor,
K.63,writtenwhenMozartwasonlythirteen(1769),anditwasfollowed
by the Serenade in D major, K. 100. Both are of modest dimensions and
have prominent passages for wind instruments. A more sophisticated
Finalmusik was K. 185, a Serenade in D major from 1773 to which most
probablytheMarchK.189belonged.Ithasarichersound,withhornsand
trumpets, and some of the eight movements have solo passages for a
violin. This festive work was written in Vienna, where Mozart and his
fatherwereseekingemployment,butinvain.

AlsobelongingtotheFinalmusikgenreistheSerenadeinDmajor,K.203,
nowknownastheColloredoSerenade.Mozartwrotethischarmingpiecein
thesummerof1774,notasacontributiontothefestivitiesforthename
dayofArchbishopColleredoashaslongbeenassumedbutagainforthe
endoftheacademicyearoftheUniversity.Itconsistsofeightmovements,
of which the second and the fourth have concertante writing for a solo
violin. There are three minuets, as well as a long Andante (sixth
movement),whereMozartreachestheartisticlevelofhissymphonies.The
finaleisagayPresto.

Five years later Mozart composed again a Finalmusik. He commenced it

afterhisreturnfromthedevastatingjourneytoMannheimandParis.This
SerenadeinDmajor,K.320wasfinishedon3August1779.Apartfromthe
famous Mannheim crescendo, this work betrays many southGerman
influences.Theorchestraismassive,withstrings,flutes,oboes,bassoons,
horns, trumpets and timpani, and Mozart makes full use of the many
coloristicopportunities.Thethirdandfourthmovementshavepassagesfor
paired wind instruments and in the trio of the second minuet there is a
part for a corno di posta, hence the nickname Posthornserenade for this
work.ThiswasmostprobablyajokebyMozart,whowantedtoremindthe
universitystudentsthattheirtermwasoverandthattheywouldsoonbe
home again with their parents. The sevenminute Andante, of unusual
seriousnessandintensity,musthavehadasurprisingeffectaswell.Maybe
Mozart liked to demonstrate here that music and science were
interrelated.

Concertantewriting
Mozart was a great composer, but he was also a performing musician of
greatskill.Heoftenplayedtheviolin,havingbeeninstructedbyhisfather
who was after all the author of the notorious Versuch einer grndlichen
Violinschule(firstedition1756,manyreprintsinseverallanguages).Itmay
beassumedthatatsomeoccasionsMozartplayedthesolopassagesofhis
Serenades himself. Such passages may occur in any movement, but
especially in the initimate trios of minuets. The Divertimento in B flat
major,K.287isanexampleofaworkofwhichweknowforcertainthat
Mozart partly wrote it for himself. In a letter he stated that everyone
madebigeyes.IplayedasthoughIwerethegreatestviolinistinEurope
(1777). No doubt it was Leopold who stimulated his son to combine his
creativeandreproductivetalents.Otherworkswithafloridviolinpartare

theDivertimentoinDmajor,K.334(1779)andtheSerenadeinDmajor,K.
250;thelastiscommonlyknownastheHaffnerSerenade.

TheHaffnerserenade(1776)wasaworkofaboystillinhisteens.Hewas
unsurgent,resultingfromtheannoyingworkinthechapelofSauschwanz
Colloredo,butthisdidnotpreventhimtocomposeworksofbreathtaking
originality. Among the many church sonatas, divertimenti and other
occasionalworkstheorchestralSerenadeDmajor,K.250isinmorethan
one aspect a juwel. It has unusual dimensions, is richly colored (double
woodwinds,horns,trumpets)andislardedwithsolopassagesforvarious
instruments.ThiswasnoroutinejobandMozartwasprobablywellpayed
forit.SerenataperlosposalitiodelSgr:SpathcollaSgraElisabettaHaffner
der Sgr: Caval: Amadeo Wolfg: Mozart, says the autograph. This clarifies
the origin of the work, and also the festive character. The serenade was
written for the wedding of the daughter of the welltodo Salzburg
merchantSigmundHaffner,Elisabeth,whomarriedon22July,1776.Itwas
thebrotherofthebridewhohadcommissionedthework,whichwasfirst
playedatasultrysummereveninginthegardenhouseoftheHaffnersin
theParisLodrongasse.TheHaffnerSerenadecomprisesacompleteviolin
concerto (Andante Menuetto Rondo) and two minuets. The opening
movement has an unusually dramatic and solemn Allegro maestoso as
introduction.Maybe Mozart was only joking here, and the serious chords
were possibly meant ironicly. Soon there is a carefree spirit of the other
movements,withanabundanceoffolklikethemes,especiallyinthefirst
Menuetto. Only in the finale the opening movement is recalled, as if
Mozartlikestomoralize:marriageisnotabedofroses.

Experiments
In some of his Serenades and Divertimenti Mozart experimented with
unusual combinations of instruments. He not seldom enriched an
ensembleofstringsbyaddingwoodwindsandbrassinstruments,insearch
forcoloristiceffectsandnewsoundspectra.Afineexampleisthecurious
ConcertosiaDivertimentoinEflatmajor,K.113,composedinMilanin
1771.HereMozartforthefirsttimeusedclarinets.Herevisedtheworka
few years later, adding oboes, english horns and bassoons and enabling
theclarinetstobeomitted.

A daring combination was tried in the sixmovement Divertimento in D

major, K. 131 from the summer of 1772. Along the strings (with diveded
violas) there was a flute, an oboe, a bassoon, and last but not least four
horns.Thehornsfeatureasasoloquartetinseveralmovementsandthese
passages call for very skilled musicians. Such passages as the slow
introductiontothefinale,wherethesevenwindinstrumentsplaywithout
strings,musthavebeenarealplaygroundforMozarttoexploringavariety
oftimbres.Inalaterstagehetransplantedsuchinnovationsintohismajor
works,likesymphonies.

Anotherboldexperiment,thistimelimitedtoacombinationofstrings,was
carried out in the Serenade in D major, K. 239, popularly known as the
Serenata notturna.In this charming work, written in January 1776 most
probably as jolly Neujahrsmusik, a string quartet is a concertante group
against a string orchestra, which results in strong antiphonal, echolike
effects. The three elegant movements, the first of which is a march with
pizzicati,musthaveastounishedtheSalzburgmusicloversonNewYears
Day,1776.

Exactlyoneyearlater,Mozartagaincomposedawinterserenade,thistime
the Notturno in D major, K. 286. Again there are antiphonal effects, but
thistimetheorchestraisdevidedintofoursmallensemblesconsistingof
fourpartstringsandtwohorns.Nothingisknownaboutaperformanceof
thepiece,butitmusthavebeenquiteanevent,withtripleechoswhirling
from one corner of the room to another. Again there are three short
movements, but this time the third is a minuet, which is rather
unsatisfactoryasafinale;ithasbeensuggestedthattherealfinaleofthis
workislost.

Musicalnonsense
Three of the works assembled in this album do not belong to Mozarts
Divertimentodecade,17691779.Onecuriouspiece,composedasearlyas
1766, preceeds this period and may be regarded as a product of a child,
theGalimathiasmusicum,K.32.ThereareindicationsthatfatherLeopold

95010MozartCompleteEdition
17


had an active part in the composition, as is suggested by the autograph
manuscriptinTheHague.ItwasinthisDutchcitythatMozartcomposed
his Galimathias, to celebrate the installation of prince William V as
stadhouderofTheDutchRepublic.Thejollyworkisamedley,consistingof
eighteen short pieces of music almost all based on preexisting material,
suchasfolksongsandpopularorganpieces.Nos.10and15arebasedon
organVersetsofJohannErnstEberlinandNo.11onamovementofoneof
Leopolds symphonies. The central part of No. 3 is a Christmas song
(Joseph, lieber Joseph mein) and No. 5 is a folksong with a bagpipelike
accompaniment.TheworkendswithakindoffuguebasedontheDutch
songWillemvanNassauthatwastobeheardinDutchstreetsalloverthe
country.OfcourseLeopoldwasthebrainbehindthiswork.Hehadwritten
musicofthesamekindearlier,suchashisBauernhochzeitof1755.

The Galimathias musicum, which means musical nonsense, survives in

twosettings.SomemonthsafterthefirstperformanceinTheHague,the
Mozarts had the work performed in Donaueschingen. The copy (of the
orchestral parts) of this second version has survived and proves that the
individual numbers had by then been somewhat rearranged. Movement
No. 8 seems to have had a short episode for chorus to the silly words
Eitelkeit!Eitelkeit!ewigsverderben!Wennallsversoffenist,gibtsnichts
zuerben,presumablysungbytheinstrumentaliststhemselves.

Unpretentiousmasterpieces
TwootherworksdatefromarelativelylatephaseofMozartscareer.They
are worldwide known today as Ein musikalischer Spass and Eine kleine
Nachtmusik. Both titels are authentic. In the Verzeichnss aller meiner
WerkethatwaskeptbyMozartinordertogetsomeorderinhismusical
activities, we read under date of August 10, 1787: Eine kleine Nacht
Musik,bestehendineinemAllegro,MenuettundTrioRomance,Menuett
undTrio,undFinale.MozartcouldnotsuspectthatthislittleSerenadeinD
major, K. 525 would one day be one of the most played musical
masterpiecesofWesterncivilisation.

TheNachtMusikwasnotmeantasatitle.Mozartonlyenhancedthatit
was an unpretentious, short work for five strings written for an special
occasion(unknowntous)andtobeperformedonafinesummerevening.
ItwasasimpleNocturne,notverydifferentfrommanyotherserenadeshe
hadwritten.Itis,however,notgiventoanartisttoprojectthefutureofhis
creations, that is a task for the general public. When the kleine Nacht
Musik was printed, in 1828 long after Mozart had died, the three
movementsimmediatelyconqueredtheheartsandsoulsofmusiclovers,
andthiswouldlastuntilthepresentday.

The unaffected simplicity of both material and treatment have provided

thisworkaspecial,informalcharm.Mostcuriously,theNachtmusikaswe
know it today is probably incomplete. For as a rule Mozarts serenades
have two minuets, but there is only one in this work. Possibly there was
originallyaminuetbetweentheopeningAllegroandtheRomanze(second
movement),nowlost.

AswithEinekleineNachtmusik,wedonotknowwhatoccasionledMozart
towritehisMusikalischerSpass,K.522.Bothworkswerecomposedinthe
summer of 1787, when Mozart buried himself in writing the greatest
masterpiece that was to leave his hands, the opera Don Giovanni.When
traveling to Prague for the premiere, in October, he was still feverishly
composing,anditremainsamysterythathefoundtimeandopportunity
to compose the two divertimenti that are now so famous. His financial
position must have been alarming and these pieces may well have been
commissionedbysomewealthyperson.EinmusikalischerSpassisunique
inthehistoryofmusic.Thecuriouswork,scoredforstringquartetandtwo
horns, is a failed sextet in four movements.Mozart here ridicules an
amateurcomposerwhotrieshishandataworkwithouthavingsufficient
controloverthemusicalgrammarandcompositionalrulesandtechniques.
Time and again the music derails. There is a chain of uncoordinated
passages, broken off fugues, faulty sequenses, annoying repeats, corrupt
harmonies, unbalanced cadences, uneven phrases, clumsy
instrumentationsetcetera.Alonglistcanbeassembledoftheelementary
mistakesofthiswouldbecomposer.Thenofcoursethereisthehorrorof
thefinalchordofthePresto,whichleavestheconcertpublicinlaughter,
evenifthechordisexpected.ThemanydefectsinEinmusikalischerSpass

areonvariouscompositionallevels:someareeasydistinguishable,others
aresubtleandhidden.Asalways,Mozartsucceedsinarousingtheinterest
ofbothLiebhaberandKenner,whichmaycalledthemottoofhismusical
activities.
JosvanderZanden

DIVERTIMENTIK439BNOS13(CD40)
At various times after Wolfgang Mozarts death his widow Constanze
offeredselectedworksofherlatehusbandsforsale.Inonelettertothe
publisherJohannAntonAndreofOffenbachshewroteOneshouldspeak
totheclarinettistStadleraboutsuchthings(unpublishedmanuscripts).He
had, among other pieces, copies of unknown trios for bassethorns. He
saysthatthetrunkcontainingthemwasstolenfromhim,butIamassured
that it was pawned for just 73 ducats (31 May 1800). In the same letter
she mentions the Notturni for three voices and bassethorns composed
withhisfriendGottfriedvonJacquin(sonofthefamousbotanistNicholas
JosephvonJacquin)thathadalreadybeenhandedtoadifferentpublisher.
Oneassumesthereforethatthebassetthorntrioswerecomposedatthe
sametimeastheNotturniorelseshewasremindedofthembymentionof
thebassethornearlier.

Mozartwasasfondoftheuniquetimbreofthebassethornashewasof
the instruments most famous exponent: Anton Stadler. The bassethorn,
oraltoclarinetinF,issimilartothemorecommonEflataltoclarinetbut
can reach one tone higher and has a range of four octaves.Mozart first
used the instrument to great effect in his Serenade in B flat K 361
composedin1781(ithadbeeninexistencesincec1765),andsubsequently
in a number of chamber pieces, Masonic ritual music, the final Requiem
Mass,DieZauberflteandperhapsmostmemorablyinthetwogreatarias
Parto,partoandNonpiudifiorifromLaClemenzadiTitothatemploy
clarinet and bassetthorn as obbligato instruments, in addition to
envisagingthegreatlateClarinetConcertoandQuintetfortheinstrument.
BeethovenandMendelssohnbothmadeoccasionaluseofthebassethorn
but it was not until Richard Strauss reintroduced the instrument in his
opera Elektra that more modern listeners appreciated its unique sound,
albeitsubmergedbeneathStrausshugeorchestralpalette.

In1803somepiecesfortwobassetthornsandbassoonwerepublishedby
BreitkopfandHartelandlaterstillSimrockofBonnpublishedtwentyfive
piecesforclarinetsandbassoon.Theseweredividedintofiveworksoffive
movements each and named Serenades. Other publishers put out their
own editions of these pieces for differing combinations of wind
instruments, but the pitch in which these works were composed
undoubtedly sound better played on three bassethorns, although as
Marius Flothuis has written, Mozart was for ever experimenting with
different combinations and would surely not have disapproved of trying
these out with horns, clarinets and bassoons. The Koechel catalogue lists
thefirstfiveSerenadesbeingcomposedin1783.Othersourcesdatethem
as either 1781 / 2 or as late as 1785. Somewhere along the line these
Serenades became Divertimenti, perhaps to give emphasis to their
recreational nature one can readily imagine an eighteenth century
aristocratbeingentertainedwiththesepieceswhilstatsupper.

ThefirstfiveDivertimentiK439b(orKAnh229)areallinthekeyofBflat
major.NumbersonetothreefollowasimilarpatternwithopeningAllegro
movements and two minuets split by a slow movement. The finale is a
Rondo.TheseDivertimentiarestylisticallyrelatedtotheNotturniandthe
firstofthemhasanAdagiomovementplacedcentrallyinwhatcanbeseen
as an extended ternary form style. The second of the set was published
originally in Leipzig without its opening Allegro and with a variant final
movementheretheslowmovementisaLarghetto.

Most scholars now agree that the final movement here was not actually
composed by Mozart but possibly by Anton Stadler, its styleand content
being more similar to a series of eighteen other pieces for three basset
hornswhicharenowintheBibliothekderGesellschaftderMusikfreunde
in Vienna. The first edition of this work was produced by Simrock after
1803 although Koechel lists the date as 1813. The third of these
DivertimentiusesthesameformatbutagainwithanAdagioatitscentre.
Dr.DavidDoughty

95010MozartCompleteEdition
18


DIVERTIMENTIK439BNOS4,5&6(CD41)
Mozart first joined the Freemasons in 1784 at a time when such secret
societies and brotherhoods were flourishing in Germany and Austria and
particularlyinVienna.WhatevercurrentfeelingsabouttheMasonicCraft
may be, at that time the Lodges were intent on a furtherance of
intellectual and moral ideas, tinged with a certain political
agenda.Members included many of the intelligentsia of the day such as
GoetheandLessingandaswellastheirratherhigherideals,themembers
of Mozarts Neugekrnte Hoffnung Lodge were prepared to help the
impecuniouscomposeroversomeofhisfinancialcrises.Inreturn,Mozart
composed several orchestral and choral pieces for the Lodge and in
particularconcentratedonseveralpiecesforcombinationsofbassethorns
andclarinets,instrumentsplayedbyseveralmembersoftheLodge,Anton
David,VincentSpringerandJohannandAntonStadleramongstthem.

Anton Stadler (1753 1812) had possibly known Mozart for some time
priortojoiningtheViennaCourtOrchestrain1781.Mozartgreatlyadmired
his playing and composed a number of works with Stadler in mind and
particularly for his clarinet, which had a special extension fitted that
enabled him to play four semitones below the normal range. The late
masterpiecesoftheClarinetConcertoandQuintetforClarinetandStrings
are perhaps the best known examples of these dedications. Both Anton
andhisbrotherJohannexcelledattheclarinetandbassethorn.Constanze
clearlydisapprovedofAntonStadler,whomshehadsuspectedofleading
her husband astray during their drinking sessions. Her remarks of 1800
show that she still had not forgiven him for his dissolute ways. Other
virtuosoplayersmentionedbyConstanzeinconnectionwiththesepieces
include Jacob Griessbacher, who knew Wolfgang well in 1781 2, and
AntonDavidandVincentSpringer(thefellowmasonswhoplayedinsmall
scaleconcertswithWolfgangin1785).

In1803somepiecesfortwobassethornsandbassoonwerepublishedby
BreitkopfandHartelandlaterstillSimrockofBonnpublishedtwentyfive
piecesforclarinetsandbassoon.Theseweredividedintofiveworksoffive
movements each and named Serenades. Other publishers put out their
own editions of these pieces for differing combinations of wind
instruments, but the pitch in which these works were composed
undoubtedly sound better played on three bassethorns, although as
Marius Flothuis has written, Mozart was for ever experimenting with
different combinations and would surely not have disapproved of trying
these out with horns, clarinets and bassoons. The Koechel catalogue lists
thefirstfiveSerenadesbeingcomposedin1783.Othersourcesdatethem
as either 1781 / 2 or as late as 1785. Somewhere along the line these
Serenades became Divertimenti, perhaps to give emphasis to their
recreational nature one can readily imagine an eighteenth century
aristocratbeingentertainedwiththesepieceswhilstatsupper.

The fourth of the K439b Divertimenti differs from the earlier three by
placing two slower movements (a Larghetto and then an Adagio) where
the more standard and conventional Minuets had been previously; the
remainingsingleMinuetnowbeingplacedcentrallyandthusreturningthe
formalbalanceofthepieces.ThefifthDivertimentoismoreproblematicin
thatitappearstobemadeupofratherdisconnectedpiecesthus:Adagio,
Minuet, Adagio, Andante (Romance), Polonaise, depending on which
publisher is consulted. Simrock has the Romance before the Polonaise
whereas the old Gesamtausgabe has the movements reversed. The
obvious conclusion is that Mozart had not intended this as a single work
butasasetofseparatepieces,asindeedtheywerelistedintheoriginal
Simrock catalogue. On this CD one has the opportunity to hear a rarely
performed sixth Divertimento once included with the other five works.
Contemporary practice dictated that sets of such pieces contained six
worksandthisexplainswhySimrockwishedtoaddasixthDivertimentoto
the set. Consisting of arrangements of arias from Le Nozze di Figaro and
DonGiovanni,itisnowuniversallyassumedthatthesearrangementswere
the work of another composer adding to the popularity of some rather
wellknownmelodies.
Dr.DavidDoughty

SERENADESK375ANDK388(CD42)
ThetwoSerenadesonthisCDwerecomposedin1781and1782andare
scored for eight parts: two oboes, two clarinets, two horns and two
bassoons. K 375 in E flat major is dated October 1781 and was originally
written for clarinets, horns and bassoons, with the oboes being added in
July1782.ItwascomposedforthesisterinlawofvonHinkel,apainterat
theEmperorscourtandwasfirstheardatvonHinkelshouse.Duringthe
compositionMozartstruckupanacquaintanceshipwithJosephvonStrack
(Gentleman of the Emperors Bedchamber). Daily von Strack arrived at
Mozarts house, to hear how work was progressing, and Mozart
consequentlygaveofhisbest,sothatvonStrackmightreportfavourably
aboutthenewpiece.ThisworkwascertainlygivenagoodairingforonSt
Theresasnight(15October)Hinkelsplayers,describedbyMozartaspoor
beggars who, however, play quite well together performed it at three
differentvenues.Twoweekslater,on31October(Mozartsnameday)the
sameplayersturneduptoserenadethecomposerhimselfjustasMozart
was getting ready for bed surprising him, in the most pleasant fashion
imaginablewiththefirstchordinEflat!

K375isinfivemovementsandisthemostcomplicatedoftheSerenades
andDivertimentimarkinghismaturingasacomposer.TheopeningAllegro
maestoso,beginswithatypicaldottedrhythminterruptedbydissonances.
The second theme, in Aberts view a sighing lover waiting for some
encouragement, seems rather anxious but soon becomes happily
transformed, although the sighing oboe returns by the end of the
movement. The first of two minuets follows, stately and slightly old
fashioned. Next comes a lovely Adagio, romantic and almost operatic,
whereeachvoiceinturncarriesthetune.ThesecondHaydnesqueminuet
isratherjollierthanthefirst.ThefinalRondo,liketheAdagio,offerseach
instrumenttheopportunitytoshineandbringstheworktoarousingand
spiritedconclusion.

The Serenade K 388 in C minor, is more serious in intent than its

predecessorandopensarrestinglywithadiminishedseventhinitsfourth
bar similar to that used in the Piano Concerto in C minor K 491. This
diminishedseventhwhichseemstopervadenotonlythefirstmovement
but also the Minuet and the Finale, is followed by a sighing motif which
beginsquietlybutassumesatragicairwhentheoboecriesoutinbar14.
The greatest surprise in this movement occurs at the end of the
developmentsection:adiminishedseventhfollowedbyalongpause.Such
anguish demands some respite and Mozart provides it in the Andante,
calm and in sonata form with a change of scoring for the reprise. The
Menuettohastheoboesmelodyrepeatedonebarlaterbythebassoons
two octaves below. Other instruments fill in the harmony but with some
jarringclashes.Thetrio,inamajorkey,isacleverlywrittenmirrorcanon.
The fourth movement is a theme with variations, of which the first four
becomeincreasinglydoomladen.Onlywiththefifthdoesagleamoflight
appear,butthislightisonlymomentaryandbytheseventhvariationthe
originaltunehasallbutdisintegrated.Itisbynowclearthattheworkhas
strayedfarfromthetraditionalconceptoftheSerenadeandthequestion
ofitsresolutionisnowbegged.Theanswercomessuddenly,forthefinal
variation recalls the theme in C major, and at last a happy ending is in
sight.TheworkwasarrangedasaStringQuintetK406someyearslater.

It cannot be said with any confidence when this work was

composed.Mozart refers to a serenade for wind in a letter to his father
dated27July1782.Ifthisisthesameworkthenitcomesataparticularly
hectic period for the composer: early July had seen him supervising the
premiereofhisSingspielDieEntfhrungausdemSerail,whilston23July
hemovedhouseinanattempttoquellthegossipconcerninghimselfand
ConstanzeWeber,whosesisterAloysiahehadalreadygivenanillegitimate
child.Ontopofallthishisfatheraskedhimforasymphony(whichturned
out later to be K 385, the Haffner). Perhaps the combined parental
pressure from Leopold and Cecilia Weber resulted in this rather tortured
butmagnificentwork.
Dr.DavidDoughty

95010MozartCompleteEdition
19


DIVERTIMENTIK166,186,226,227(CD43)
TheworksonthisCDwereprobablyallcomposedasTafelmusik,musicto
be enjoyed whilst eating or entertaining friends.Mozart later dramatised
suchaneventinthelastsceneofDonGiovanniwhenmusiciansentertain
the Don with the latest operatic hits. These include Mozarts own Non
piu andrai from Le Nozze di Figaro, which draws forth the mischievous
comment from the servant Leporello I dont think much of this tune.
Moreimportantly,fromasocialpointofview,themusiciansearlierinthe
operaplayaseriesofdancestowhichthecharacterscandance(according
to their station): the upper classes dance to the stately minuet, the
servantsaregiventherusticLndler,whilstforGiovannisseductionofthe
peasant girl Zerlina they play a contradanse, a dance acceptable to all
social classes. Both Divertimenti K 166 in B flat and K 186 in E flat were
composed for two oboes, two clarinets, two cors anglais, and two
bassoons. K 166 is dated 24 March 1773 and the other work is also
probably from the same period. It is widely assumed that since the
Salzburg Court had no clarinets, Mozart composed these pieces to be
playedinMilan,fromwherehereturnedtoSalzburginMarch1773.That
Spring the Mozart family clearly hoped for an upturn in their fortunes as
theymovedtolargerroomsinSalzburg.Duringthesummertheytravelled
toViennawheretheyhadanaudiencewiththeEmpressbuthadtoreturn
toSalzburgwithoutacommission.

These were not the first chamber pieces Mozart composed for wind as
works written in 1767 appear to have been lost. There are numerous
examplesinthescoringoftheseDivertimentiwhichdemonstrateMozarts
inexperience in this genre: the bassoons are merely doubled and much
elsewhereisinunisonordoubled.Theworksfollowasimilarpattern:an
opening Allegro followed by a steady Minuet. K 166 has an extra
movement placed third (Andante grazioso) and then in both works there
follows an Adagio. For a finale Mozart winds up with a happygolucky
Allegro. The opening of K 166 has just two sections, recapitulation
immediately following exposition. In the Trio of the Minuet there is a
charmingpassagefortwocorsanglaisandbassoon.TheAndantegrazioso
isarondoinwhichdifferentcombinationsofinstrumentstakethetheme.
The dreamlike Adagio is especially beautiful and the piece closes with a
contradanse in rondo form. K 186 opens with a brief introduction which
leadsintoanundemandingLndler.ThatisfollowedbyaMinuetinwhich
clarinets and horns are silent for the central Trio. The outstanding
movement (as with K 166) is the Adagio, hauntingly beautiful and yet so
simpleindesign.TheFinaleisacontradansesimilartothemovementthat
closesK166.

ThereareanumberofworkswhichhavebeenattributedtoMozartlisted
in an appendix to Koechels original catalogue of 1862. Two of these
doubtful works are the Divertimenti for wind octet KV Anh 226 and KV
Anh 227 in B flat and E flat respectively. Scholars have determined the
likelyplacesofcompositionbyexaminingpapertypesandstaffruling.Itis
from such a calculation that these pieces are thought to have been
composedinMunichduringtheearlymonthsof1775.AtthattimeMozart
wasinthecitytosupervisetheproductionofhisoperaLafintagiardiniera.
UponhisreturntoSalzburgMozartwasaskedtocomposeanotheropera,
IlRePastore,inhonourofthevisitbeingmadeatthetimebytheArchduke
Maximilian Franz. It is possible that these Divertimenti were played to
entertain the Archduke during his stay but the Koechel catalogue merely
states that they were composed especially for performance during the
Carnival season in Munich. Both Divertimenti are in five movements
beginning with an Allegro then followed by a Minuet. For the third
movementofKAnh226MozartcomposedaRomancewhereasforKAnh
227heintroducedashortbutlanguidAdagio.Therefollowsineachworka
second Minuet and a Rondo closes the first work whilst a brisk and
delightfullysyncopatedAndantinofinishestheother.
Dr.DavidDoughty

DIVERTIMENTIK213,240,252,253&270(CD44)
TheDivertimentionthisdiscwereallcomposedwithinaneighteenmonth
periodbetweenJuly1775andJanuary1777.AtthistimeMozartwasinthe
service Archbishop Colloredo of Salzburg. Colloredo, due largely to his
correspondence with Mozart, has been treated somewhat unfairly by
history.Itistruethathepaidhisservantsapittanceandgavehismusicians

leaveofabsenceonlywithextremereluctance;ontheotherhand,takinga
leaf out of the Emperor Josephs book, he enforced new standards in
educationandpublicservicesmakingalargecontributiontoameliorating
the lives of the citizens of Salzburg. Enlightened in so many ways, the
Archbishop simply could not tolerate insubordination from the servant
classes, Mozart included. However Colloredo was keen and
knowledgeableaboutmusicandheandhisfamilycommissionedanumber
ofworksfromMozartsuchastheoperaIlrepastoreinhonourofthevisit
fromArchdukeMaximilian.

Foroccasionssuchasthis,MozartwasalsoaskedtoprovideTafelmusik,or
musictobeperformedwhilstthedignitariesandtheirguestswereeating
attable.Itsmodernequivalent(pipedmusic)maybefrownedupontoday
inrestaurantsandotherpublicplacesbutthereisnoevidencethatMozart
tookanylesscareoverthecompositionofthemorematureDivertimenti
than he did with other works composed during the 1770s and 1780s
(unsurprisinglyhisinitialattemptsinthisgenrebetraysomeinexperience
withunnecessarydoublingofinstruments).Mozartsoperasalsocameto
provide excellent material for Tafelmusik: there still exists examples of
some exquisite arrangements of Mozarts most popular tunes by
instrumentalistsandothermusiciansofhisday.

TheseDivertimentiwerecomposedduringthelongestunbrokenperiodin
Salzburg that Wolfgang had to endure (apart from his youngest years).
Despite this, Mozart poured forth a stream of exquisite works: the
SerenataNotturna,theViolinConcertos,severalMassesandDivertimenti,
and his first truly great Piano Concerto (No. 9 in E flat KV 271,
theJeunehomme). Previous Divertimenti, composed in 1773 for Milan,
hadbeeninexpertlyscoredbuttheworksonthisdiscshowMozartatthe
topofhiscraft.Theplayers(twooboes,twohorns,twobassoons)perform
as individuals, with the first bassoon assuming the tenor role in the
ensemble,whilstwhenplayinginunisonitservestoprovideastrongbass
when required. The Divertimento in F major KV 213, composed in July
1775,openswithaspiritedAllegro:amockseriousopeningansweredbya
cheeky oboe. The Andante movement gracefully recalls an earlier period
whilsttheMinuetstylisticallyappearstopaytributetoHaydn.Thefinale,a
Contredanse en Rondeau, marked Molto allegro, surely sent the
Archbishops guests home in fine good humour for it is one of Mozarts
happiestcreations.

The next Divertimento in the series, in B flat KV 240, was composed in

January 1776 and is of slightly larger scale than its predecessor. The first
movementsomewhatunusuallybeginsitsrecapitulationmidwaythrough
thefirstsubjectonlyreturningtotheopeningmaterialattheveryendof
themovement.AgavottelikeAndantegraziosofollowsandthencomesa
Minuet,withparticularlytestingwritingforthehorns.ThefamousMozart
scholarErikSmithdescribedthesecondsubjectofthefinaleasappearing
like a sensitive poet at a rowdy party: Mozart intellectually amusing
himselfattheexpenseoftheArchbishopsguests?

ThefollowingDivertimentoinEflatmajorKV252alsodatesfromJanuary
1776, but has a different layout of movements with the Minuet (more
testing work for the first horn) coming second and with a Polonaise (a
rarityinMozartsoutput)beingplacedthird.Theoutlyingmovementsare
a Siciliano and a brilliant finale based on an old Austrian tune Die Katze
lasst das Mausen nicht (The cat wont leave the mice alone). The three
movement Divertimento in F major KV 253 (August 1776) opens
unconventionallywithathemeandvariations.Theothertwomovements
arenotablefortheircontrastingsectionswhichcombineplayfulnesswith
graceandnobility.ThefifthDivertimentoinBflatKV270wascomposedin
January1777andisthegloryoftheset.Theperfectlyconstructedopening
movementistheequaloftheJeunehommeconcertocomposedalsothat
month.TheAndantinoisoneofMozartsfinestgavottesandtheMinuetis
magnificently witty. The Presto in 3/8 brings the work to a joyous
conclusion.
Dr.DavidDoughty

95010MozartCompleteEdition
20


NOTTURNI K 436, 437, 438, 439, 346, 549 DUETS FOR 2 HORNS K 487
(CD45)
The six Nocturnes for voices and wind instruments were composed in
17871788 due to Mozarts friendship with the Jacquin family. Nicolaus
Jacquin (17271817) was a famous botanist and his children, Gottfried
(176792) and Franziska (17691857), were extremely musical. Franziska
was reputed to be one of Mozarts finest students and a number of
authorities credit Gottfried with the composition of the vocal parts of
theseNocturnes.FouroftheseshortsongsweresettingsoftextsbyPietro
Metastasio (16981782), certainly the most respected librettist of the
eighteenth century.Metastasio, who was born in Rome, lived in Vienna
from 1730 as court poet and wrote many libretti based upon classical
themes. Gluck, in his later works, seems to have radically changed his
opinionofMetastasio,forhecametobelievethatMetastasiosworkbroke
uptheactionandallowedthevanitiesofthesingerstocontrolthetempo
of the drama. However from the list of major composers who set
MetastasioslibrettiitcanbeseenthatMetastasiosinfluenceuponopera
wasstillstrongwellintothenineteenthcentury.TheMetastasiotextsused
by Mozart for the Nocturnes were K436 Ecco quel fiero istante (from
Canzonette), K437 Mi lagnero tacendo (from the opera Siroe), K438 Se
lontan,benmio,tusei(fromhisStrofepermusicaVersesformusic)and
K549Piunonsitrovano(fromtheoperaOlimpiade).Itisentirelypossible
thattheothertwotextsarealsobyMetastasio(K439Duepupilleamabile
andK346Lucicare,lucibelle),butscholarsremainunconvincedastotheir
trueauthorship.

ThescoringoftheseshortworksisunusualinthatK437andK438havethe
two sopranos and bass accompanied by two clarinets and a basset horn,
whilst the remainder of the Nocturnes use an accompaniment of three
basset horns, the alto member of the clarinet family. It was invented in
c1765 and had a wide range of about four octaves.Mozart used the
instrument in a number of other works and it was revived by Richard
Strauss in his operas Elektra (1909) and Daphne (1938). Ecco quel fiero
istanteisoftenknownasLaPartenza(Parting)andispartofacycleoftexts
byMetstasiodedicatedtothecityofNice.Milagnerotacendoislikewise
rather tender and sad. Mozart was not given to conscious borrowing,
however there is a resemblance between the chorus Secondate aurete
amiche(CosifantutteAct2)andSelontan,benmio.Thecompositionof
Piu non si trovano (16 July 1788) was sandwiched between that of his
Prague and Jupiter symphonies. Mozart was understandably downcast
atthistimefortheViennesepublichadfailedtoappreciateDonGiovanni
and his bitter feelings are matched by the falling chromaticism at the
words e tutti parlono di fidelta. Due pupille amabile is the song of a
lovesickpoetwhoisreadytodieforlovebutcannotchoosebetweentwo
lovelyladies.Theunknownpoetmakesplayofthefamiliarallegoryinlove
poetryoflight/love:luciinLucicare,lucibellereferringtothelovedones
eyes.

ThetwelveDuosinCmajorK487haveperplexedscholarsovertheyears
forthechromaticismincludedintheseworksisnotinevidenceinMozarts
other works for horn. However Mozart delighted in composing testing
piecesforhisvirtuosofriendsandalthoughinwritingoverthescoresofhis
horn concertos he jokingly referred to his old friend and skittleplaying
companion Joseph Leutgeb in derogatory terms, it is clear that he had a
genuine admiration for Leutgebs capabilities. Should there be any doubt
whetherMozartintendedthesetestingworkstobeplayedonthehorn,it
should be noted that he omitted notes impossible to produce on the
valveless horn. It is doubtful however whether Mozart intended these
pieces to be played in public. They are dated 27 July 1786 and the
movements are as follows: Allegro; Menuetto (Allegro); Andante;
Polonaise; Larghetto; Menuetto; Adagio; Allegro; Menuetto; Andante;
Menuetto;Allegro.
Dr.DavidDoughty

SERENADE FOR THIRTEEN WIND INSTRUMENTS IN B FLAT K361 GRAN

PARTITA(CD46)
There is no certainty whether Mozart himself gave the title of Gran
PartitatohisSerenadeforThirteenWindInstrumentsbutwhatiscertain
isthatthisisMozartsmasterpieceforwindensemble.BeguninMunichin
1781 at the time of the first performance there of his opera seria
Idomeneo,theworkisanamazingexplorationofthedifferencesinsound

worldcreatedfromanalternationbetweensoloistsandtuttiandamixture
oftonesandtimbres.Mozartdidmakeanarrangementoftheworkfora
moreconventionalgroupingofpairsofwinds(KAnh182)butitisthesheer
mass of wind instruments in this original version which cannot fail to
impressbyitsgrandeurofconceptionandseriousnessofpurposes.Indeed,
apartperhapsfromBeethovensWindSextet(Opus71)andMozartsown
subsequentSerenadesinEflat(K375)andCminor(K388),thisisaunique
masterpieceinagenrewhichwassubsequentlytobelittleimitatedbyany
other major composers of the time. The importance of the opera
IdomeneobothonthecontemporarymusictheatresceneandonMozarts
own compositions cannot be denied. This was the first of Mozarts truly
greatstageworksandalsomarkedbothahomagetoGluckandtheFrench
style and at the same time, a departure from conventional opera seria:
Mozart would only return to the form once more in his career for La
ClemenzadiTitojustbeforehisdeath.Gluckmadehispresencefeltinthe
subject (a reworking of the Jephtha story) and in the inclusion of ballet
sequences and marches. Munich too was the only place where such a
grand work could be produced without problems and this fulsome style
was to spread itself easily to the grand Serenade as here in question.
AlthoughMozartwastorevisetheoperaforproductioninVienna,itisthe
Munichversionwhichremainstruetotheoriginalconceptoftheworkand
whoseinfluenceisfeltinthePartita.

The Serenade for Thirteen Wind Instruments mixes the colours of basset
horns, oboes, clarinets, bassoons and horns above a continuo of double
basssometimesasaquartet,sometimesasextet,sometimesinunison,
sometimes solo. And Mozart manages to overlap tone colours and solos
throughoutthesevenmovementsofthepiece.Oboesandbassoonscarry
a lyrical quality as well as a buffo characteristic like the great comic
ensemblesoftheoperaswhilstthehornsaddaRomanticfeeltothework
andestablishitsbasicpallette.AlthoughitwasbeguninMunich,thepiece
was eventually completed in Vienna after Mozarts breakwith his patron
ArchbishopColloredoofSalzburgitisaworkwrittenataturningpointin
itscomposerslifeanditisaworkthatexpressesthosenotionsofsuccess
and change both in music itself and of the composers own situation,
fortunesandlife.

The Serenade in B flat major is in seven movements and begins with an

opening Allegro in Sonata form which is preceded by a short Largo
introduction sounding initially like a sort of mechanical music. From the
openingtutti,individualinstrumentsemergesuchastheshortsolosgiven
totheoboeandclarinetintheintroduction.Inthisway,Mozartpasseshis
themeingeniouslyfrominstrumenttoinstrument.Thesecondandindeed
thefourthmovementsarebothmultifacetedMinuets,extendingtheform
toitslimitsandeachwithtwotriosectionsmovingtoGminorinthefirst
andtoBflatminorinthesecond.Thethirdmovement,amagicalAdagio
with a particularly lovely alternation between oboe and clarinet, may be
recognisedbyfilmgoersasthemusicusedforSalierisfirstintroductionto
hisrivalssomewhatgreatertalentinthefilmofPeterSchaffersAmadeus.
Incontrast,thefifthmovementisaRomanceinthreesections;anelegiac
opening and conclusion framing an extraordinary piece of Allegretto
burlesque. Somewhat unusually in this most unusual of masterpieces,
another slow movement follows, this time a set of variations on an
AndantethemewhichreturnstothekeyofBflatmajorandmaybebased
onanearlierFluteQuartet(K285b/KAnh171).Finally,atypicallyboisterous
and humorous Rondo with links to an earlier four hand piano sonata,
roundsofftheworkinsplendidfashion.
Dr.DavidDoughty

MINUETS,LNDLER,GERMANDANCES,CONTREDANSES(CD4752)
Like most of his fellow composers in the later part of the 18th century,
Mozart composed a huge amount of dance pieces for special occasions,
like dance evenings and masked balls. Mozart wrote dance music
throughout his life. His first dances date from about 1769, when he was
thirteenyearsoldandstilllivedinSalzburg.Untilthetimeofhisdeathin
1791hewrotethirtysetsofdancesandmanyindependentworks,around
200singledancesinall,forballsinSalzburg,ViennaandPrague.

Mozartwasanenthusiasticdancerhimselfandistoldtohavedancedon
everypossibleoccasion.InViennainthe1780sdancingtookplaceininns,

95010MozartCompleteEdition
21


parks,dancehallsandballrooms.Thehighpointoftheyear,however,was
the series of carnival balls held under the auspices of the court in the
Redoutensaal during Lent. This hall actually consisted of two rooms, one
largeandonesmall.ThankstotheratherliberalpolicyofemperorJoseph
IIthesemaskedballswereopentoallranksofsociety.Alldancers,richor
poor, mighty noblemen or humble servants, could intermingle freely
knowing that their identities were hidden by the masks and elaborate
costumes.

From 1787,when Mozartwas appointed Kammermusicus tothe imperial

court chapel, Mozart spent most of December and January composing
minuets,Germandancesandcontredansesforthesucceedingseason.Like
the many dances written by Haydn, those by Mozart are the most
infectiouslyjoyousandcharmingdancemusicinthehistoryofmusic.First
Mozart composed his dances for string trio. These simple versions were
often performed and sold to Viennas most important music publisher
Artaria.When the dances were actually needed Mozart worked out the
orchestration and set the pieces for wind instruments and strings, also
including the viola that was left out in the string version. Mozart wrote
onlythemostpopulartypesofdancemusicofthosedays,contredanses,
minuets,LndlerandGermandances.

The contredanse was a dance that gained great popularity in France and
elsewhereinEuropeinthelaterpartofthe18thcentury.InGermanyand
Austria it was named Contratanz. As a dance, it is characterised by the
placementoftwocouplesfacingeachotherandmovingagainsteachother
in a great variety of steps and movements. The music consists of a long
series of eightmeasure phrases which may be repeated over and over
again. It is now generally accepted that the contredanse developed and
tookitsnamefromtheEnglishCountrydancewhichitresemblesinmany
ways. Already as early as 1699 we find Contredanses anglaises in a
collectionofdancesuitesbytheFrenchmanBallard.Thecontredanselater
developed into the franaise and the quadrille.Mozart and Beethoven
wrotemanycontredansesforwindinstrumentsandstrings.Thesepieces
were used as dance music for special festive occasions, like birthdays,
namedaysandweddings,butespeciallyfortheballsduringCarnival.

The18thcenturycultivatedparticularlytheminuet,withoutaddingmuch
totherepertoryofdancemusicuntiltheendofthecenturywhenVienna
becameanewcentreofdancemusicandwhenthefirstmoderntypesof
dancesappeared,thevigorouscossaise(Beethoven)andthesoftswaying
Lndler (Mozart, Beethoven and Schubert). The Lndler was an Austrian
dance with the character of a slow waltz. It was very popular in the last
part of the 18th century and the early 19th century. The Lndler soon
changedintothemostfamousdanceofalltime,thewaltz.

TheminuetwasaFrench dancefromrusticoriginandwasintroducedat
thecourtofLouisXIVabout1650.Thekinghimselfissaidtohavedanced
thefirstminuet,composedbyJeanBaptisteLullyin1653.Theminuetwas
soonadoptedastheofficialcourtdanceofthergimeoftheRoiSoleil,and
it quickly spread all over Europe. The minuet superseded completely the
older types (courantes, pavanes) and established a new period of dance
anddancemusic.Lullyintroducedtheminuetintohisballetsandoperas,
and around 1700 composers like Muffat, Pachelbel and J.K.F. Fischer
introduced it into their suites. The minuet was the only one of the
numerous dance types of the baroque period which did not become
obsolete after the decline of the suite around 1750. The statement that
Haydn was the first to introduce the minuet into the symphony is not
correct. The operatic sinfonias of Alessandro Scarlatti and others usually
close with a minuet, as do also numerous independent symphonies and
sonatasofthepreHaydnperiod.

Theminuetwithtrioasthenexttolastmovementisfoundinpracticallyall
the symphonies of the Mannheimers. The minuet is in metre and,
originally, was in a moderate tempo. The graceful dignity which
characterisedtheearlyminuetstilllivesinthefamousminuetinMozarts
DonGiovanni.InthesymphoniesandstringquartetsofHaydnandMozart,
however,theminuetbecamefasterandfaster,andtookamorehumorous
orwhimsicalcharacter,graduallyleadingintothescherzo.Theminuetwas,
like the contredanse, danced by couples and distinguished itself by the
stately grace of its choreography and the symmetry of its musical

structure. The standard minuet consisted of three sections, of which the

firstandthethirdwereidentical.Themiddlesection,setinthedominant,
subdominant or in a relative key, was called trio because it was usually
written for three instruments, whereas the minuet proper was usually
arrangedforthefullerensemble.
ClemensRomijn

HORNQUINTETK407OBOEQUARTETK370CLARINETQUINTETK581
(CD53)
Mozart met the Viennese clarinettist Anton Stadler, in 1782 and by 1784
thetwomenhadjoinedthesameMasonicLodge.Theirfriendshipwasto
influencemuchofMozartslaterwritingfortheinstrument,notjustinthe
Masonic concepts of The Magic Flute but also in the extended solos for
clarinetandbassclarinetinLaClemenzadiTitoandintheundoubtedlate
masterpiecesthataretheClarinetConcertoK622andthepresentClarinet
Quintet K581. At this time, the clarinet was a relative newcomer to
symphonic music and Mozart originally wrote both the Quintet and the
Concerto for the instrument known as a basset clarinet. The original
performances would thus have been given on a somewhat different
instrument than we know nowadays and it was the publication of the
scores in the early nineteenth century that established the clarinet parts
werecognisetoday,transposingsomeoftheoriginalmusicupwards.

Mozartsmasterpiecewascomposedatatimeoffinancialandemotional
difficulty.Hisfatherhaddiedsometwoyearspreviously,hiswifehadbeen
constantly ill and Mozarts reputation was for one or other reason,
distinctlyonthewane.Despitethisstateofdespair,theQuintetiswritten
in a sunny A major, the solo clarinet expressing a state of calm and
peaceful resignation. The first performance was given at Viennas
BurgtheaterwithStadlerassoloist.

Thefourmovementsareconventionallylaidout.TheopeningAllegroisa
dialogue for soloist and strings, followed by a lyrical slow movement
(Larghetto),smilarinfeeltothelaterClarinetConcerto,whichgivesway
to a Menuetto with two Trios (the second being in the style of the
VienneseLndlerasortofcountrysideprecursoroftheWaltz).Finally,a
setofvariations,ledinitiallybythesoloclarinetbringtheworktoitsclose.

MozartsonlyHornQuintetperhapssuggestsarelationshipwiththefour
well known Horn Concerti playful and at turns Romantic as the
instrument itself suggests (particularly when used some years later by
Schumann, Wagner or Bruckner). But this is more of a humorous
piece.WrittenfortheSalzburghornplayer,IgnazLeutgebitisperhapseven
somethingofajoke.

Despite this, the three movement work contains a rather moving central
Andante with its duet between horn and violin. The piece is scored,
somewhat oddly, for solo horn accompanied by two violas and a single
cello no violins in sight. Although the work is basically a chamber style
concerto,thefirstandfinalmovements (bothsimplymarkedasAllegros)
do little to point out the virtuoso or melodic capabilities of the solo
instrument.Onpublication,oneoftheminuetsfromtheSerenade(K375)
wasaddedtomaketheworkrathermoresubstantial,butthisisessentially
lightweightandnotveryseriousMozart.

TheOboeQuartet(K370)issomethingofquiteadifferentmatter.Thisis
Mozartathismostseriousandhasevenbeenseenasaforerunnerofthe
marvellouslateClarinetQuintet.IndeedtheoboeisoneofMozarts(and
his contemporaries) more favoured instruments, with its plangent yet
sweettoneitistheidealinstrumentoftheperiodsomethingthatRichard
Strauss realised when he paid homage to Mozart in his own, late Oboe
Concerto.

MozartsQuartetwascomposedfortheoboistFriederichRammwhilstthe
composerwasinMunichatthebeginningof1781:itisthusrelatedtothe
period of the great opera seria Idomeneo, another Munich commission
andhasthatseriousnessofpurposethatmarksoutoneofthecomposers
great periods of music making. The work is written in a conven tional
enoughformwiththreemovementsfollowingthegeneralprincipleofthe
ternaryAllegro,AdagioandRondoandperhapsrelatedtothefirstofthe

95010MozartCompleteEdition
22


FluteQuartets(inDmajor).Thistimetheworkisalsoinamajorkey,but
thatofFmajor.Ithasatendencyalsotowardstheconcertoformandeven
includesasmallcadenzaintherelatedDminorslowmovement.Thereis
also a strange but effective moment in the final movement where the
strings play in 6/8 time whilst the soloist plays his melody in 4/4 time.
Indeed it is hardly an exaggeration to claim this is one of Mozarts finest
chamberconcertante works looking forward to some of the later
masterpieces.
Dr.DavidDoughty

PIANOQUINTETK452CLARINETTRIOK498(CD54)
Works for the piano abound in Mozarts catalogue and apart from the
seriesofpianoconcertosandsonatas,theinstrumentwasusedbyMozart
in many of his ensemble chamber pieces. There are piano trios, quartets
andaquintetfortheextraordinarycombinationofpianoandwindsrather
thenthemoreusualsettingofthesoloistagainstagroupofstringplayers.
ThecombinationishowevernotuniquetoMozartandBeethovenwasto
usethesameplanforhisownOpus16Quintet.

The Piano Quintet dates from 1784 when Mozarts relationship with
StadlerhadbeencementedbytheirjointMasonicinterestsandduringthe
periodwhenhewaswritingaseriesofremarkablePianoConcertiincluding
theGmajorworkwrittenforBarbaraPloyerandtheonesinBflatwritten
forMariaTheresaParadis(K456)andtheFmajor(K459)workcomposed
with himself in mind. It is thus clear that this was a period when Mozart
wasconcentratingonthekeyboardworksthatremainoneofhisgreatest
contributionstotherepertoire.ItwouldbeeasytoseetheQuintetinthis
respectasachamberconcertofortheinstrument(asindeedsomeofthe
earlier concerti exist in such chamber forms) but the scoring is still
somewhatunusualasopposedtosaythePianoQuartetswhichcaneasily
be considered as miniatures in the concertante vein. It is indeed that
combination of solo piano against anaccompaniment of oboe, clarinet,
horn and bassoon that sets this work apart.Mozart was fond enough of
theseseparateinstrumentstohavecomposedindividualconcertiforeach
ofthembutheretheyaregatheredtogetherasanensemblewhereeachis
givenitsownprominenceandnoneoutweighstheotherinimportance.

Theworkisinthreemovementsandbeginswithanopening,likethoseof
Haydns symphonies which brings an Allegro out of an initial slow
introduction. This opening Largo is in the grand style and gives way to a
ratherpastoralAllegromoderatobeforethesecondmovementLarghetto
withitssimplebeginningandstrangemodulationbeforeitsrecapitulation.
FinallyaRondoinAllegrettotimewindsupthepiecewithajoyousmain
theme and its own cadenza. Comparisons are perhaps odious and
Beethoven, although he imitated the work never really managed to
surpasswhatMozartconsideredtobeoneofhisfinestworkstodate.

BeforeembarkingonthetwogreatmasterpiecesforPianoTriowithviolin
and cello (K 502 and K 542), Mozart wrote another Trio with Piano, this
timeforadifferentcombinationincludingclarinetandviola.Theworkwas
notonlyapreparationforthoselaterworksbutwasalsopublishedinthat
differing instrumentation by the publishing house of Artaria as a trio for
clavicembalooFortepianoconaccompagnamnetodunviolinoeviolasi
puo eseguire anche con un clarinetto ( in other words can be played
also by clarinet). The work was originally conceived as a showpiece for
Francisca Jacquin who would have taken the original piano part with
MozartplayingtheviolaandhisgreatfreemasonfriendAntonStadleron
theclarinet.Itwas,ofcourseStadlerwhowastoinspireMozarttowrite
histwofinalgreatmasterpiecesforclarinettheConcerto(K622)andthe
Quintet(K581).TheopeningAndanteemphasisesthekeyofEflatmajor
whichforMozartwasakeyrelatingtofriendshipalthoughonoccasionthis
moves into dominant and subdominant as well as C minor. The Minuet
which follows shows Mozarts grasp of counterpoint without ever falling
intothetrapofmerelysoundingacademicwhereasthefinalRondeauisof
songlikecharactermixingcounterpoint,formandmelodytowardsatotally
satisfyingconclusion.
Dr.DavidDoughty

PIANOTRIOSK254496502(CD55)
The earliest of Mozarts pieces for Keyboard, Violin and Cello were
composed in 1764, whilst the young composer was in London and
dedicatedtoQueenCharlotte.Hereturnedtotheformtwelveyearslater
in August 1776 with a Divertimento a 3 in B flat major K 254. Mozart, in
common with Haydn and others, saw the Piano Trio as a kind of
accompaniedSonata.ThiswouldcertainlyapplytoMozartswritingforthe
cellointheseTrios,foritrarelycarriesthetuneandservesmainlyasthe
bass.IntheDivertimentohowevertheviolinisgivenasmuchprominence
asthepiano.ThejocularanddynamicopeningAllegroisahighlightofthis
unassumingpiecewhilsttheRondoFinaleisagracefulminuet.

AfurthergapoftenyearsseparatestheDivertimentofromthenextTrio
althoughanotherworkforPianoTrioK442wasbegunin1785andMozart
wasstilladdingtoitthreeyearslater.Thethreemovementsofthiswork
werepossiblynotintendedtoformacompletedwork,butwereassembled
after Mozarts death by the Abbe Maximilian Stadler, possibly at the
behest of Mozarts widow Constanze. (K 442 is not included in this
collection).

The Piano Trio in Gmajor K 496 was composed in Vienna and is dated 8
July,1786(twomonthsfollowingthepremiereofLenozzediFigaro)and
wasthefirstofabatchoffivecompletedPianoTrioscomposedbetween
July 1786 and October 1788. As if to emphasize the preeminent role
played by the piano in these works, the opening Allegro begins
dramaticallywithanextendedpassageforpianosolo.Thesenseofdrama
does not diminish with the entry of the other two players and the
movementasawholeisnotableforitsboldharmoniesandanunusually
powerfuldevelopmentsection.

The great slow movement, marked Andante, is one of Mozarts most

heartfeltessaysandcontainsmuchthatisexquisitelyrefinedanddetailed.
It is also arare example of the cello being afforded something like equal
statuswiththeothertwoinstrumentalists.

The lighthearted Finale (Allegretto), as so often by now made up of a

themeandvariations,hastheeffectofclearingtheairandbringsthiswork
toarelaxedconclusion.

ThethirdPianoTrioinBflatmajorK502isdated18November1786.This
is unquestionably one of his finest chamber works and resembles in its
moodthegreatpianoconcertosthatsharethesamekeysignature,K450
andK456.TheopeningAllegro,isalmostuniqueinthatMozartconfines
his material to one basic theme. Even in the Coda, the composer
unexpectedlycontentshimselfwithdevelopingthatsingletheme.Itiswith
thelovelyLarghettothatMozartmostalignshimselfwiththespaciousand
romantic style of his Piano Concertos. Its longbreathed melody clearly
anticipatestheworkofSchubert.Iftheopeningmovementdemonstrated
Mozarts skill at making much out of little material, then the Finale
(Allegretto)showsthecomposerdisplayinganenviablewealthofmelody.

OtherworkscompletedbyMozartatthistimeincludethePianoConcerto
no. 25 in C (K 503), the Symphony no. 38 in D (K 504) known as the
PragueandtheQuartetforFluteandStringsinAK298,composedforhis
friend Jacquin. He had received a sum in advance for Le nozze di Figaro
earlierin1786,butheearnednothingfromseveralrepeatperformancesof
DieEntfuhrungausdemSerailalsogiventhatyear(althoughhemusthave
feltsomegratificationthatthepublicwasstillshowinganinterestinthis
earlier opera). Mozart made plans to tour to help ease his financial
worries.FriendsspokeofthewelcomehewouldreceiveinLondon,forhis
reputation as a leading composer and performer had never been higher.
He had intended to accompany the singers Nancy and Stephen Storace,
butMozartwasnotingoodhealthandhisassumptionthatLeopoldwould
careforhisyoungfamilyinhisabsencewasfirmlysquashed.Intheevent
Mozartdidtravel,butonlytoPragueinJanuary1787attheinvitationof
Count Thun. There Figaro was given a triumphant reception and Mozart
returnedtoViennaafewweekslaterwithanewoperacommission,which
wouldturnouttobeDonGiovanni.Constanzehad borneathirdchildin
October1785buttheboyonlylivedonemonth,dyingjusttwodaysbefore
the completion of the Piano Trio no. 3 K 502. Not for the first time did

95010MozartCompleteEdition
23


Mozart suppress his true feelings during composition for there is little
inklinginthisengagingworkofanytragedyinhisprivatelife.
Dr.DavidDoughty

PIANOTRIOSK542548564(CD56)
ApartfromtheDivertimentoinBflatK254,composedwhilstMozartwas
still living in Salzburg, the five numbered Piano Trios were all composed
during a fertile period between 8 July 1786 and 27 October 1788. This
period also saw the composition of such largescale works as the opera
DonGiovanniandthelastthreePianoConcertosandSymphonies.

Ifthelargerscaleworkswereintendedtobemoneymakers,Mozartbyno
meansallowedthemoreintimateworkstobeofinferiorquality;manyof
thesongs,concertariasandchamberworksprovidetheirperformerswith
testing material. All six Piano Trios were published during the lifetime of
thecomposerandsoldrelativelywell.ThefirstofthePianoTriosonthis
disc, Number Four in E major K 542, is dated 22 June 1788 and was
composedseventeenmonthsafterthepreviousTrio(K502).Itmaintains
theexceptionallyhighstandardsofK502,andtoalesserextenttheTrioin
G major K 496. Mozarts music is often said to anticipate the works of
Schubert and rarely is that more appropriate than in this Trio. The
prevailing sentiment is of radiant happiness but that radiance is often
displacedbyamelancholicstreakachievedbymeansofrapidmodulations
to remote keys, a technique much favoured by Schubert. This sense of
indecisionrunsthroughbothfirstandsecondmovements,whilstthefinale
seeks to drive out the melancholy by means of rapid passages for the
violin.IntheearlierTriosMozartdoesnotoftenallowtheviolinandcello
toshinebuthereallthreeplayersoperateonamoreorlessequalfooting.

ThefollowingTrioK548beginswithanarrestingopeningtriadicpassagein
whichallthreeinstrumentsenterinunison,astylefarremovedfromthe
moreromanticwritingusedinmorerecentworks(andespeciallyintheE
majorTrio).Intheslowmovement(Andantecantabile)Mozartreturnsto
thedisarminglysimpleandromanticstyle.Allthreeinstrumentsaregiven
complicated passage work in abundance in the busy Rondo Finale before
Mozartreturnstothestarkermannerofhisopeningwithaunisonchordof
Cmajor.

ThefinalPianoTrioinGmajorK564isdated27October1788.Thetheory
wasfirstadvancedbyMozartsearlybiographerOttoJahnthatthiswork
wasinitiallyconceivedasapianosonataandthatMozartalteredthepiece
insomehasteuponreceiptofacommissionforaTrio.

SinceMozartwasbecomingincreasinglyindebtandhadborrowedduring
thesummerlargesumsfromPuchberg,everycommissionhadtobetaken
seriously.Althoughthepianosonatatheoryisnolongercurrentthinking,it
can be seen that the autograph score is in two different hands with the
string parts alone written down by Mozart and an unknown scribe
responsible for the copying of the piano part. Elsewhere there is a
fragmentofthepianopartwrittendownbyMozart.Perhapstheworkwas
composed in haste for there is little individual interest for the violin and
cello and less interplay between the three players than heretofore.Since
Mozart had spent the summer works composing the last three great
symphonies, the large scale Divertimento for String Trio as well as the
other two Piano Trios included on this disc it might be imagined that he
wassufferingfromexhaustion!Iftheworkappearssomewhatperfunctory
it is by no means lacking in skill, for nobody could write such apparently
childlikemusicaswellasMozart.Muchoftheworkisundeniablybeautiful
withthethemeandvariationsmovement(Andante)beingmostcharming,
thethemebeingplayedinturnbyeachsoloist.AsusualMozartwindsup
theworkwithamerryRondoFinale.

AloneamongthePianoTriosthislastworkinthegenrewasnotpublished
in Vienna but in London by Mozarts friend Stephen Storace (whose wife
NancywasthefirstSusannainLenozzediFigaro).Includedinthisvolume
was a collection of harpsichord works and the first English edition of
MozartsPianoQuartetinEflatK493.
Dr.DavidDoughty

PIANOQUARTETSK478493(CD57)
MozartstwoPianoQuartetscomefromaperiodwherethecomposerwas
at his peak and in the midst of his great series of piano concerti. In that
respecttheyarealmostminiatureconcertiinthemselvesandareframed
bytheDminorConcerto(K466)andtheCmajorConcerto(K467)written
justbeforethefirstoftheQuartets,theAmajorConcerto(K488)andthat
inCminor(K491)inthemiddleofthemandtheCmajorConcerto(K503)
which follows. In the midst of all this activity centred on the years 1785
and1786,MozartwasalsotoproducehisgreatmasterpieceTheMarriage
of Figaro one of the most enduring operas of all time. It is a period
wherethecomposerhadfoundtheperfectbalancebetweenmusicwhich
may be both good humoured and sadly elegaic, qualities which will be
foundinabundanceinthetwoPianoQuartets.

TheoriginalimpetusforthePianoQuartetscamefromacommissionfrom
Mozarts great friend and fellow composer Franz Anton Hoffmeister who
askedforaseriesofthreePianoQuartets,thefirstofwhichhepublished
himselfattheendof1785.Publicreceptiontotheworkwassuchthatthe
first of the series was considered to be too difficult a work for general
consumptionandMozartagreedtoreleaseHoffmeisterfromhiscontract
andgaveuptheideaoftheseries.IndeedHoffmeisteragreedtoMozarts
retaininghisadvancepaymentontheconditionthattheotherworkswere
not completed. Nevertheless, a second Quartet was completed in June
1786andwasacceptedforpublicationbytheHouseofArtaria.Theideaof
the Piano Quartet was a new one at the time and Mozart had not even
begunhisseriesofgreatPianotrioswhichweretofollowatalaterdate.In
effect,theideaofthePianoQuartetwasmerelyascalingdownofthatof
thePianoConcertosforsoloistandstringsthatMozarthadworkedon.The
exception which perhaps went even further in its daring combination
instrumentswasthePianoQuintetforwindswhichprecededtheQuartets
byayear.

Despite the contemporary feeling that works such as the two Piano
Quartets on this disc would normally have been seen as chamber
reductions of piano concertos, Mozart managed to produce two works
which are masterpieces of chamber music, not scaled down concertante
works in the manner of the Bach sons. Indeed, the G minor work is a
particularlyearnest,sombreandpassionatepieceofchambermusicinits
own right. Although the solo part (that of the piano) is as virtuoso as
anythingoftheperiod,theadditionalstringplayersareaskedtocontribute
muchmorethanjusttheusualaccompaniment:thisiscertainlynotapiece
writtenforamateurmusiciansasmuchofthechambermusicofthetime.
Theverykeysignatureofthepieceforetellstheearnestnessofthepiece
forGminoristhekeythatMozartrelatestothevagariesoffateandthere
areevenreferencesherelookingforwardtotheverysocalledfatemotive
ofBeethovensFifthSymphony.

ThetwoQuartetsareseparatedbyonlyayearandshowonceagainthat
Mozartwasreadytotakeupaformandthenabandonitafterhefelt(or
circumstancesdictated)thathehadcontributedenoughtoit.Thefirstof
the two works is the more intense and more complicated although both
areroughlythesameinlength.TheGminorQuartetopensinunisonand
thatAllegromovementhasaninexorablefeelaboutitthatshowsupinthe
fate motive suggested earlier, maintaining the mood to its close. There
followsanAndantewhichissombreandsadinmoodbeforethelightening
of mood that characterises the final Allegro Rondo in the major key,
althoughevenherethetensionandtheunquietofthefirstmovementis
never fully dissipated. The second Quartet in E flat major is dated only
weeks after the completion of Figaro and echoes some of the brighter
aspectsoftheopera,togetherwithaconsciouslymoresimplestylefrom
theearlierGminorwork.TheAllegroopenswithafreshmelodywhichsets
the mood for the whole movement. A central Larghetto follows in A flat
major,oneofMozartsgreatprofoundinspirationsfullofsubtlesonorities
and harmonies. The work concludes with the usual Rondo (Allegretto)
movement which substitutes any idea of a cadenza by a simple trill and
bringstoanendoneofMozartsmasterpiecesforchamberensemble.
Dr.DavidDoughty

95010MozartCompleteEdition
24


FLUTEQUARTETS(CD58)
Mozartwasareluctantcomposerfortheflute.Howeveratthetimewhen
theFluteQuartetsK285andK285awerecomposedhewasalsowriting
theConcertoforFluteandHarp,aFluteConcerto(K313)andanAndante
forFluteandOrchestra(K315possiblyasubstitutecentralmovementfor
K313).OtherworkscomposedatthetimeofhisvisittoMannheiminlate
1777includethePianoSonatasK309311andtheViolinSonatasK296
andK301306.

K 285 and K 285a were part of an extensive commission received whilst

Mozart was in Mannheim from the Dutch amateur flautist Ferdinand
Dejean (1737 97) for which Mozart was to be paid in total 200 gulden.
Dejean was a surgeon in the Dutch East India Company who had also
commissioned the Flute Concerto K 313 and other works. Dejean
stipulatedthatthetotalcollectionshouldbedeliveredwithintwomonths
of10December1777.Theonlysurvivingeditionfrom1792publishesthe
two movements of K 285a with the Allegro movement of K 285. On 15
February Dejean traveled to Paris, having paid Mozart just 96 gulden for
the music received at that time. This might have seemed harsh but one
work(aFluteconcerto)wassimplyatranscriptionofanexistingconcerto
foroboeandotherworksubmittedappearedtobeincomplete.Although
accompaniedinMannheimbyhismother,hepursuednewacquaintances
(especially female) with a vigour that left him with little time for
composition. These acquaintances included the Weber family, and in
particulartheeldestdaughterAloysia,whosesisterConstanzehewaslater
tomarry.ClearlyhavingfeltcoopedupinSalzburgwithastrictfatherand
a stuffy employer, Mozart, albeit under the disapproving gaze of his
mother,wasmakingupforlosttime.K285isinthreemovements:Allegro.
Adagio.Rondo:Allegretto.

TheAllegro,despiteMozartsdistasteforthesoundofthefluteisoneof
hishappiestcreationswithawealthofmelodywhilsttheAdagioisoneof
the most beautiful pieces for the flute. K 285a is in two movements
(Andante.Menuetto)followingthepatternsetbyMozartsfriendJohann
ChristianBach.IfMozartwasfeelinganypressuretocompletethisworkby
adeadline,hedidnotshowitinhismusic,fortheopeningAndanteshows
himtobeinarelaxedframeofmind.TheMenuettohoweveristruncated,
fortheusualTrioisomitted.

OnlythecomparativelyrecentdiscoveryofpartofthefirstmovementofK
285b in Mozarts hand has provided conclusive evidence as to his
authorshipofthiswork.ThissketchalsoincludespartofthefirstactofDie
Entfuhrung aus dem Serail and thus can be dated with some accuracy to
the period of the operas composition ie 1781 / 2, the beginning of the
Vienneseperiod.Thesecondmovement,athemewithvariationsmarked
Andantino,isanarrangementofthesixthmovementoftheSerenadeinB
flatK361,thoughttohavebeencommissionedbytheeventualpublisher
oftheQuartetHeinrichPhilippCarlBossler.

K298wascomposedmuchlater,during1786and1787and isapieceof
HausmusikwrittenfortheJacquinfamily.Eachofitsthreemovementshas
musicborrowedfromothercomposers.TheopeningAndantino,isasetof
variations based on a song by Hoffmeister, a hugely prolific composer of
over 65 symphonies and a number of works for flute and clarinet. The
theme of the second movement (Menuetto) is another song, this time
fromFranceIladesbottes,desbottesBastienwhilstthethirdmovement
usesacurrentfavouriteariabyPaisiellofromhisoperaLegaregenerose.

Despite having more than his fair share of bad luck during his lifetime,
Mozarts ebullient sense of humour was never far from the surface. His
letterstohisfatherdescribinghisriotouslivingwhilstinMannheimwere
probablywrittenwiththeclearintentionofwindingLeopoldupandshow
a mischievous side to Wolfgang. In the Flute Quartet K 298 we see the
lover of pure nonsense: above the Paisiello movement is written
Rondieaoux/Allegrettograzioso,manontroppopresto,peronontroppo
adagio. Cosi cosi con molto garbo ed espressione (Rondomieow /
Allegrettograzioso,butnottoofastandnottoosloweither.Justso,so
withalotofcharmandexpression).
Dr.DavidDoughty

FLUTESONATASK1015(CD59)
ItisdifficulttostatecategoricallywhetherLeopoldMozartsattitudesand
treatment of his two young children was one of encouragement or of
exploitation.What is certain is that he introduced both Wolfgang and his
sistertotheCourtsofEuropeandtothemusicofthetimeatanagewhich
nowwouldseeminappropriatelyyoung.Youthhoweverwasnorespecter
of genius in the case of Wolfgang and there may well be an excuse for
treating a child prodigy such as he certainly was in a different way to
ordinaryoffspringinourowntime.

TheMozartfamilythussetoutonaseriesofjourneysacrossEuropeboth
fortheeducationofthechildrenandforLeopoldtobenefitcommercially
from the musical aptitude of his son and daughter. The first of these
journeyswastotheCourtoftheElectorMaximillianinMunich,althoughat
thisstageWolfgangwasonlysixyearsold.Nevertheless,hewaspresented
asachildvirtuosoandonlysixmonthslater,intheautumnof1762,ona
trip to Vienna, he had become a child composer. It was on that journey
thatMozartcontractedthescarletfeverwhichwastoaffecthishealthfor
the rest of his life. After his recovery, the family moved on to Pressburg,
now Bratislava but then a part of Hungary.Mozart was introduced to
centralEuropeanfolkmusicbutithadlittlefutureinfluenceonhim.

Itwas,however,onJune9th1763thatthefamilybeganthemostmajorof
theirtourstodatethiswasajourneythatwouldultimatelyleadtoFrance
and England and from which they would not return to Salzburg until the
end of 1766. The London of the time had a musical patron in Queen
Charlotte who employed the two major composers of the day Karl
FriedrichAbel(172587)andJohannChristianBach(173582).Mozartwas
initially impressed by the symphonies of Abel but after his acquaintance
withJCBach,hewastofallunderthespelloftheoldercomposerbothas
mentor and as friend, an influence that almost ranks with Mozarts
uncriticalloveandrespectforHaydn.

Mozarts stay in London followed five months in Paris, where the young
composer had been imbued by the French Style under the tutelage of
JohanSchobert,musiciantothePrinceConti.Londonwashowevertobe
thefamilystemporaryhomeforawholesixteenmonthswheretheseven
year old would study not only with Bach, but also with other famous
musiciansofthetimesuchastheItaliansthatBachhadmetonhistravels
toMilanPesceti,ParadisiandGaluppi.TheperiodinLondonsawMozarts
firstsymphonies(althoughoneoftheseisdubiousandanotherisactually
byAbel)andaseriesofchamberworks,sonatasandsuchlike.

RelationswithJ.C.Bachbroughttheyoungcomposerintotheorbitofthe
Queen and her patronage and it was not surprising therefore that he
shouldwanttowritesomethingtobeabletodedicateittoherMajesty.
Thus,thegroupofsixsonatasonthisdiscwereconceivedasatributeto
the Queen. They were written for harpsichord with either violin or flute
accompanimentandtheirdedicationisdated18thJanuary1865.

Intheversionspresentedheretheyaregivenintheversionsforflute,an
instrument which Mozart was know in later life to not have much
favoured, particularly in the more mature series of two concerti forflute
and orchestra (K 313 and K 314) written in Mannheim for the amateur
DutchflautistandmusicpatronDeJean.Itwouldbefoolishtosuggestthat
these sonatas are the equal of those later works but they do have a
youthfulexuberancethatisbothremarkablefortheworkofaneightyear
oldandstillattractiveenoughtoappealtoapresentdayaudience,justas
they must have done to the London Court of the time. Three of the
Sonatas are written in a two movement form in the style of the
contemporaryItaliansonataaslowmovementfollowedthenbyaquick
one. The remaining three are written in the style of J.C. Bach, that is in
threemovementswithusuallyaslowcentralmovement(althoughK14in
Cmajorisanexceptionhere).Particularlynoticeableinwhataregenerally
wellbalancedandcapablepiecesisthevastdifferenceinlengthofthetwo
sections of K 15 in B flat with its lengthy first movement and ultra brief
finale.
Dr.DavidDoughty

95010MozartCompleteEdition
25


VIOLINSONATASK69,2631VARIATIONSK359&360(CD6061)
When speaking about the early violin sonatas, and as a matter of fact
aboutanyMozartviolinsonata,weshouldrealizethattheseworksarein
fact not violin sonatas but keyboard sonatas with accompaniment of a
violin.TheoriginaltitleofthesonatasK69isasfollows:Sonates/Pourle
Clavecin/Qui peuvent se jouer avec lAccompagnement de Violon/ It is
evident from this title that the harpsichord plays the main role in these
sonatasandtheuseoftheviolinisnotobligatorybutadlibitum.

These sonatas were composed and published in Paris in 1764 during the
first journey of Leopold Mozart with his two children, the 7 year old
Wolfgang Amadeus and his sister Nannerl. Several of the pieces used in
WolfgangsOpusI&IIwereactuallycomposedaskeyboardsolopiecesthe
yearsbeforeandwrittendownintheNannerlsNotenbuch.Allthesepieces
are in Leopolds handwriting and it seems likely that Leopold wrote them
downfromhissonsimprovisingontheharpsichord.

When the Mozarts arrived in Paris in 1763 several German keyboardists

wereworkingandlivingthere.AmongthesewereJohannGottfriedEckard
and Johann Schobert. Both virtuosos and composers had traceable
influence on the young Mozart. Johann Schobert in fact composed and
published several harpsichord sonatas with ad libitum violin
accompanimentwhichservedtheyoungMozartasanexampleforhisown
sonatas.

TheSonatasK2631werecomposedandpublishedinDenHaagin1776.
From the title page of these sonatas it appears that the violin is still
considered to be accompaniment but obligatory: Six Sonates / Pour le
Clavecin/AveclAccompagnementdunViolon/.Actuallytheformdoes
not differ from the sonatas K 69, and one could say that also here
Schoberts sonatas formed the matrix for these pieces. Development in
style however is evident. Especially the greater diversity of ideas and
invention is obvious. The often praised talent of Mozart for his
extraordinaryfeelingforbalanceincomposition,isalreadydefinitelymore
clear in these younger pieces than in the Paris sonatas from 1764. The
young Mozart had a special interest for polyrhythmical experiments.
EspeciallytheadagioofK7andthefirstmovement(AndantepocoAdagio)
ofsonataK27aregoodexamplesofthispreoccupation.

As written in the title of these publications, the keyboard part was

conceived for harpsichord, which was in fact Mozarts main instrument
until the 1780s. Working on these sonatas with my colleague Rmy
Baudet, violinist on this recording, I more and more got the impression
thattheviolinpartservedasameanstocreatemorepossibilitiesrealizing
thedynamicaleffectswhichthisstyleofmusicisaskingfor.Althoughthe
harpsichordisfromitsnaturedynamicallyaquitelimitedinstrument,the
traditionalharpsichordmusicuntilthisperiodmadeuseoffullertextures
which gave the performer more possibilities to suggest dynamical
contrasts. Especially the abundant use of alberti basses and eighth note
repetitionsinthenewstyle,makesitforaharpsichordistadifficulttaskto
suggest dynamical shades and contrasts. Of course this was one of the
reasonswhytheharpsichordthenexttwoorthreedecadeshadtomake
moreandmoreplaceforthepianoforte.

VariationsonLaBergreClimne&Hlas,jaiperdumonamant.
Asintheviolinsonatas,thevariationsforviolinandpianofortearefirstof
all piano pieces. These mature pieces were composed in Vienna in 1781
andpublishedbyArtariain1786.Theoriginaltitledoesnotevenmention
theviolin:Ariette/avecvariations/pourleclavecinoupianoforte/Par.
Thementioningoftheharpsichordaskeyboardinstrumenthastobeseen
as a commercial statement.Many keyboard players did not possess a
pianoforte yet. Until the nineteenth century editors and composers
mentioned the harpsichord as a possibility not to frighten off potential
buyers,orevenoutofhabit.Thedynamicalmarkingsinthekeyboardpart
make it difficult to believe Mozart had the harpsichord in mind when he
composedthesepieces.

The variations on La Bergre Climne consist of twelve variations in G

majorandalthoughthepianoisdefinitelytheleadinginstrument,thethird
variation for instance is pianoforte solo, the violin now and then takes
over. The six variations on the French song Hlas, jai perdu mon Amant

are,asonewouldexpectduetothedramatictitle,ingminor.Thesongis
otherwise known as Au bord dune fontaine. The instruments used on
theserecordingswherechosenfordifferentreasons.Ithastobesaidthat
Mozartplayedtheinstrumentsavailableattheplacehestayed,whetherit
would be a harpsichord, clavichord or pianoforte. He never complained
about the kind of instrument he had to play, but complained a lot about
the bad quality of many of the instruments. Therefore, to find a good
instrument seems more important than to find the right type of
instrument.

TheMietkecopy,aGermantypeofinstrumentwhichJ.S.Bachfavouredin
his time, was chosen because it has a darker sound than the average
Europeanharpsichordandseemswellsuitedtomatchtheviolin,whichhas
fromitsnaturemorebottomsoundthantheharpsichord.

The Flemish harpsichord used in the sonatas K 2631 was the kind of
harpsichord Mozart must have been playing during his visit in the
Netherlands as well as in Paris. The pianoforte was copied after an
instrument by Anton Walter (1795), a Viennese pianoforte builder, from
whosehandMozartownedapianoforte.
PieterJanBelder,2001

VIOLINSONATASK376377372(CD62)
MozartwrotethetwoSonatasinFmajorK376andK377withinashort
timeofeachother,inJuly1781.Althoughtheyarebothinthesamekey
thetwocompositionsarequitedifferentinformandexpressivecharacter.
Both are in three movements but whereas the former is in the classical
patternAllegro/Adagio/Allegro,thelatterisinspiredbyFrenchmodelsand
consistsinasonatastyleAllegro,aThemewithsixvariationsandaMinuet.
TheSonataK376hasamuchmorelively,extrovertedcharacter,reaching
its greatest moment, perhaps, in the magnificent central Andante,
cantabile,fullofrococoembellishments.ThesecondSonataismuchmore
contrasting in its character. The first movement, Allegro, is unexpectedly
violent in expression, whilst the second movement consists in a series of
variationsonathemeinEminor,culminatinginafineSiciliana(variationn.
6). The Minuet finale has been defined by Einstein as balsam for a
woundedsoul,adefinitionwhichseemstocaptureperfectlythesenseof
calmsweetnessofthispiece.

TheKchelindexofMozart'scompositionslistsunderNo.372afragment
of the first movement, Allegro, of an unfinished Sonata in B flat major,
writteninViennaonthe24thofMarch1781.Itcontainstheexpositionof
a first movement in sonata form but does not seem to contain any
particular felicity of invention.Mozart must not have been very satisfied
withthisopeningofthemovementforheinterrupteditatbar66,shortly
before its conclusion. The piece was then completed by the Austrian
composer Maximilian Stadler (17481833) who wrote a rather elaborate
andlongwindeddevelopmentandrecapitulationforit.ThetwoFragments
K 402 and K 404 contain a series of pieces of varying length and
importance,datingbackto1782.

TheAndanteandFugueK402maybepartofaSonatathatwascomposed
inAugustorSeptember1782.Atthattime,asweknow,Mozarthadtaken
tostudyingtheworksofthegreatJohannSebastianBach,andhadbegun
toshowgrowinginterestinthat'antiquestyle'whichwasalsofavouredby
his wife Constanze.This interest in Bach's style can be seen in important
compositionsliketheAdagioandFugueinCminorK546forstringsandin
the transcriptions for string trio of the Fugues in the Welltempered
Clavier, which follow Adagios that Mozart composed himself.We cannot
thenexcludethepossibilitythatMozartoriginallyintendedthisAdagioand
Fugue

K402tobeadistinctcomposition,notnecessarilyprecededbyasonata
type Allegro. The very pompous Adagio, in 3/4 time, is a sort of
ceremonious minuet in A major; it is followed by the Fugue in A minor,
written in a deliberately impersonal idiom, as similar as possible to the
style of Bach.Mozart did not, however, finish this piece, which was later
completedbyMaximilianStadler.TheAndanteandAllegrettoK404isthen
a composition of very modest dimensions, little more than a musical
scherzo. A light 18bar Andante is followed by a similarly slim 24bar

95010MozartCompleteEdition
26


Allegrettoinwhichthewholepieceseemstoberesolvedineasy,pleasant
themes.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

VIOLINSONATASK379380547(CD63)
TheSonatainGmajorK379wascomposedbyMozartinVienna,inApril
1781andispartofagroupoffiveworksforthesametwoinstruments(K
376380) written in that year. The work is in only two movements, the
second of which is a Theme with Variations. The first movement is,
however,intwopartform,andopenswithalongintroductoryAdagioinG
major,nobleinitsprogressionandintenselypathetic.TheAllegroitself,in
very concise, typically Mozartian sonata form is, on the other hand, in G
minoranimportantkeyfortheSalzburgcomposer,akeywhichhealways
uses in pieces of particular expressive force. After the modernity of the
Allegro (which, strangely, does not present the normal, reassuring
conclusioninthemajorkey)theconcludingThemewithVariationsseems
toleadusbackintothelandofrococostylegalant.Thesimple,expressive
theme,AndantinoCantabile,withitshintsofmelancholy,isshared
equallybytheviolinandthepiano;itisfollowedbyfivevariations,inthe
first of which the violin tacet (is silent). The first variation is a sort of
enchantedpianorverie,whilstthesecondisbasedlargelyonviolinsemi
quaver triplets, with an effect that brings to mind certain pages of the
musicofJohannChristianBach.

The third variation, full of expressiveness, is played by the violin with a

livelymossopianoaccompaniment,whilstthefourth,theonlyminorkey
variation, is essentially a piano piece. In the fifth variation, Adagio, the
main part is played by the piano, with pizzicato violin accompaniment.
The Sonata concludes with an extended and modified Allegretto
recapitulationoftheinitialtheme.

The Sonata in E flat major K 380 was completed a few months later in
summer1781.Itisinthemoretraditionalthreemovementform,opening
with a lively, animated Allegro which is certainly one of the most ample
andfullydevelopedconcertantepassagesthatMozarthadwrittenbefore
the great trilogy of the Sonatas K 454, 481 and 526. The magnificent
AndanteinGminorisnolessimportant;oneofthosepagesthatarefullof
melancholy,autumnalexpressivity,wheretheextraordinarilyfluidmelodic
invention combines with a harmony which in many ways can be seen as
bold.ThecompositionfinisheswithaRondeau,Allegro,in6/8time;here,
as so often in Mozart's instrumental compositions, the shadows and the
gloom of the Andante give way to almost childlike merriness. The
Rondeau too has a lively, concertante character, with its main theme
which, as Alfred Einstein rightly points out, could have been used as a
Finaleinapianoconcerto.

The Sonata in F major K 547 is the last Sonata for violin and piano that
Mozartcomposed.Completedon10thJuly,1788,inVienna,itstitleisEine
kleine Klavier Sonate fr Anfnger mit einer Violine (A littlepiano sonata
for beginners with a violin). Whatever Mozart may have thought of
beginners,eitheronthepianoorontheviolin,theSonataisanythingbut
easy.Itsinstrumentalconceptionhasverylittleincommonwiththethree
finalmasterpiecesofMozart'sproduction,theabovementionedSonatasK
454,481and526.

SomedistinguishedMozartscholarsmaintainthatthelasttwomovements
of this Sonata were originally intended as piano solos and that the violin
part was not added until a later date.What is certain is that the first
movement Andante cantabile possesses a more obviously concertante
conception, and an elegantly ironic idiom. The second movement is an
Allegro in sonata form, whilst the final movement is a Theme with six
variations, in which it is almost always the piano that leads the musical
discourse (in the fifth variation the piano is a solo instrument while the
violintacet)theviolinpartisgenerallylimitedtoaccompanyingfigures.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

VIOLINSONATASK296305526(CD64)
The A major Sonata K 526 is the last but one in chronological order of
Mozart'ssonatasforviolinandpiano.ItwascompletedinViennainAugust

of 1787, and is evidently the apex of Mozart's production in this

instrumentalform.Unfortunatelywedonotknowthereasonsforwhichit
was written; the exquisite concertante conception, the breadth of its
proportions, the difficulty and brilliance of its instrumental scoring all
confirm, however, that it is a typical concerto composition, destined for
twosoloistswhopossessuncommontechnique.Neverbeforehadawork
forpianoandviolinshownsuchamarkedvirtuosity;writteninthesame
periodasDonGiovanni,thissonata,asDeWizewaandSt.Foixhaveclearly
pointed out, can be seen as a direct precursor of Beethoven's Kreutzer
Sonata,whichnotbychanceiswritteninthesamekeyofAmajor.

TheK526presentstheclassicalthreepartform,andopenswithanAllegro
moltoin6/8time,contrastingandbrilliant;thisisfollowedbyacharming
Andante in D major, calm and meditative in tone, and finally by a very
livelyclosingPresto,ofexcitingvirtuosity.TheSonatainCmajorK296was
written in March 1778 for a young student of Mozart's, Thrse Pierron
Serrarius. It is in three movements, a very gallant work, it opens with an
Allegrovivace,frankandcordialincharacter,whichpresentsnoparticular
complications in terms of performance. The central movement, an
Andante in G major, is of an idyllic tone, almost like a romance; the
Rondofinale,lightandlively,formsabrilliantconclusiontothisadmirably
wellbalancedcomposition.TheAmajorsonataK305,wasmostprobably
writtensometimeearlier,perhapsintheFebruaryofthesameyear,1778.
Amuchlighterandfreerwork,thissonataislikewisemadeupofonlytwo
movements.AftertheinitialAllegrodimolto,wefindasaconclusion,nota
Minuet,butinitssteadanAndantegraziosowithsixvariations(thefirstof
which dedicated exclusively to the piano) which posses a truly charming
melodiclightness.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

VIOLINSONATASK301303481(CD65)
MozartcomposedtheEflatmajorSonataKV481inDecember1785.Even
todaythegenesisofthisworkisratherobscure.WedonotknowifMozart
composeditforaparticularsoloist,ashehaddoneayearandahalfearlier
with the B flat major Sonata K 454 which he composed both for himself
andfortheItalianviolinistReginaStrinasacchi,oriftherewassomeother
unknownreason.AlfredEinsteinmaintainsthatMozartcomposeditsimply
becausehewantedtoearnalittlemoneyfromthepublisherHoffmeister,
who indeed published the work soon afterwards. Together with the
Sonatas K 454 and K 526 this Sonata in E flat major K 481 forms the
triptych of Mozart's last great masterpieces in the field of the sonata for
violin and pianoforte, and Einstein is quite right to say that never did
MozartcomesoclosetoBeethovenasintheFinaleofthiscomposition.

The work, which is in three movements, opens with a Molto Allegro, in

whichtherobustconceptionoftheinstrumentaldialogueisneverdivorced
from refined delicacy of manner. The candid simplicity of the first
movementiscontrastedintheAdagioinAflatmajor,wherethesearchfor
amoreintimateexpressivedepthishighlightedbytheuseofaharmonic
language that is extraordinarily modern. The Sonata finishes with an
AllegrettoconVariazioni,inwhichthe(fairlysimple)themeisfollowedby
sixvariationsallinthesamekeyofAflatmajor.

Aworkofgallantconception,theGmajorsonataK301ismadeupofonly
twomovements,andopenswithapleasantAllegroconspiritoinwhichthe
violinandthepianocontinuallyexchangethethematicmaterial,inapolite
game of question and answer. The second movement, Allegretto, is
constructedinRondoform,andhasarusticandfolksyprogression.

TheGmajorsonata,K301waswritteninMannheim,betweenthe25thof
December1777andthe14thofFebruary1778,andbelongs,asdoesthe
following sonata in D major, KV 306, to the group of six compositions (K
301/306)publishedin1778anddedicatedtotheElectorofthePalatinate
(forthisreasonknownunderthetitlePalatinateSonatas).Thesesonatas
mark a decisive step forward compared to the youthful sonatas for
harpsichord or piano with violin accompaniment; in these sonatas the
violinandthepianohavealmostequalroles,andtheviolinisfinallyfreed
from the subordinate role which it had always been allotted previously.
The Sonata in C major K 303 is one of the group of socalled Palatinate
Sonatas (K 301306) that Mozart composed in 1778 in Mannheim and

95010MozartCompleteEdition
27


Paris. In only two movements, following a formal model which links the
first five works in this collection, the C major Sonata K 303 presents a
somewhatcompositefirstmovement.Itopenswithabrief(18bar)Adagio
whichisfollowedbyaMoltoAllegroinGmajor,ofratheranimated,lively
character. In the very middle of the Allegro Molto the initial Adagio is
reproposed in varied form: the latter then introduces a reprise of the
Molto Allegro which appears this time in the basic key, C major. This
singular formal conception finds its inspiration, it seems, in the first
movement of one of the Sonatas for piano and violin of the Saxon
composerJosephSchuster(17481812), whichpresumablyarethemodel
on which Mozart created his Palatinate Sonatas. The Sonata then
concludeswithaceremoniousTempodiMenuetto.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

VIOLINSONATASK302304378403(CD66)
The Sonata in B flat major K 378 is part of a group of five sonatas (K
376/380)whichMozartcomposedin1781.Withtheadditionofaworkthat
hadbeenwrittensomeyearsearlier,theSonatainCmajorK296,addedin
ordertoreachthecanonicalnumberofsixcompositions,thefiveSonatas
K376/380werepublishedbyArtariainViennaasop.II,withadedication
to the Viennese pianist Josephine von Auernhammer. The collection was
well received and the reviewer of the Magazin der Musik expressed
himselfinveryflatteringterms,definingthemasuniqueintheirgenre
andnotingalsotheperfectfusionofthepianoandviolinparts,thevariety
of modes and the equal skill required of the two soloists. Structured in
three movements, mostly in the pattern Allegro / Adagio / Allegro (with
theexceptionsofSonatasK377andK379)theseSonatasof1781donot
contain significant novelties of aesthetic or language compared to the
Palatinate Sonatas of 1778; indeed Sonata K 296 also written in 1778 is
perfectlyintegratedwiththe1781compositionsandalistenerwhodidnot
know the story of this collection would hardly notice any discrepancy in
stylebetweenthisandtheotherfivesonatas.TheSonataK378openswith
abriskAllegroModeratoinwhichthegalantdelicacyofthemainsubjectis
coupled with a rather elaborate concertante writing. The second
movement Andante sostenuto e cantabile, so fluid and melodious, is
reminiscent of certain pages of vocal music of the wellloved Johann
Christian Bach (17351782), whilst the Rondeau, Allegro with which the
sonatafinishesintroducesanoteoflight,pleasantvirtuosityintothepiece.

Even though they were written within a short time and contain similar
twomovementstructurestheSonatainEflatmajorK302andtheSonata
in E minor K 304 show very different characters. The Sonata K 302,
composed in February 1778 is a work of more brilliant conception,
especiallyitsfirstmovement,Allegro,withitsvirtuosoopeningphrase,its
strongmotiveforceandfrequentuseoftripletsandrepeatednotesandof
crescendogivingitavital,exuberantcharacter.Thesecondmovement,on
theotherhand,Rondeau,Andantegrazioso,isapageinpuregalantstyle,
withacalmalmostrelaxedprogression.

TheSonatainEminorK304,composedinParisinsummer1778,ismore
interiorandspiritual.ThechoiceofthekeyofEminorisinitselfsingular
since there is no other instrumental composition of Mozart's in this key.
Thefirstmovement,Allegro,isinasoundsettingcharacterisedbyextreme
simplicity; the unadorned beauty of the themes, the modest,
conversational tone, the total renouncing of emphasis join the sovereign
clarity of the instrumental writing. The second movement is a Minuet, a
twilight episode, full of suffused melancholy; the central section, in E
major, (not indicated as a Trio) is likewise moving in its sweetness and
simplicity.

The C major Sonata K 403 was begun in summer 1782 but remained
unfinished;Mozartabandonedthecompositionofthesonataaftertwenty
barsofthethirdandfinalmovement,theAllegretto.Thecompositionwas
thencompletedbyafriendofMozart's,thecomposerMaximilianStadler
(1748 1833). The present recording contains only the original part,
composed by Mozart, and is interrupted at the beginning of the final
Allegretto, at the point where Mozart left the work. The sonata was
written for Mozart's wife, Constanze, who was to have played the piano
part whilst Mozart himself would have played the violin part. The first
movement, Allegro moderato, with its tranquil progress and its strongly

chromaticthreepartwriting,isnotwithoutreflectionsofBach,perhapsin
homagetoConstanze'stastes.TheabsorbedandpensiveAndantemoves
withoutsolutionofcontinuity,after59bars,intotheunfinishedAllegretto.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

VIOLINSONATASK306454(CD67)
Mozart composed the B flat major sonata K 454 for violin and piano in
Vienna, in April 1784. The work was written for the Mantuan violinist
ReginaStrinasacchi,withwhomMozartgavethefirstperformance,inthe
presenceoftheEmperorJosefII.Ontheoccasionofthisfirstperformance,
it seems, Mozart improvised the piano part as he had not managed to
complete it in time. In fact, an examination of the autograph manuscript
seems to confirm that the piano part was written some time after the
violinpart.ThesonataK454isthefirstofthethreegreatsonatasofthe
1780's (the other two being the K 491 and the K 526) which definitively
affirmstheprincipleofconcertanteintegrationofthetwoinstrumentsand
theviolinpartnowtakesonacompletelyvirtuosoconnotation.Thesonata
isinthreemovements;theelaborateinitialAllegro,however,ispreceded
byabriefLargo,solemnandsweetinequalmeasure.TheAndanteinEflat
major,isanintenselypoeticalpassage,almostsorrowful,characterisedby
modulation of an unprecedented audacity. The Finale, Allegretto, is in
Rondosonata form; a piece of considerable breadth, in which the close
dialoguebetweenthetwoinstrumentsnaturallyoffersgenerousspacefor
thevirtuosityofthesoloists.

TheDmajorsonataK306istheonlyoneofthePalatinatesonatastobe
writteninthreemovements.Comparedtotheotherthreesonatasinthe
set,italsorevealsamorerobustformalconception.Thefirstmovementis
a vigorous Allegro con spirito rich in contrast, with a singularly incisive
developmentsection.TheAndantinocantabileinGmajoris,ontheother
hand, a generous page in which lyrical tones are punctuated with more
dramatic moments. The sonata is then concluded by an elaborate
Allegretto of 261 beats, very virtuoso in its conception, in which we also
find shortly, before the end, a veritable concert cadence for both
instruments.
DaniloPrefumo(TranslatedbyTimothyAlanShaw)

CHURCHSONATAS(CD68)

STRINGQUINTETSK174&406(CD69)
MozarthadwrittenhissetofsixStringQuartetsK168K173probablyinthe
hopeofgettingworkattheCourtinViennain1773.Althoughtheattempt
to obtain work was unsuccessful, the visit was highly significant in other
ways: Mozart came under the influence of Haydn, and his skills as a
composerincreasedpartlyduetothepractiseMozarthadinwritingthese
sixquartets.

MozartssearchforworktookhimtoMannheimwherehefellunderthe
influenceoftheMannheimSchoolbuiltaroundthesuperborchestraofthe
CountyElectoraswellasParisandVienna,whereheeventuallysettledin
1781,wellawayfromtheunhappypressuresofhisnativeSalzburgandhis
patron Archbishop Colloredo. The following period from 1782 was an
enormously significant one for Mozart: he married Constanze Weber,
wrotethefirstofhisHaydnQuartets,andhisfirstchildwasbornin1783.
Around this time, he also became more and more deeply involved with
Freemasonry.

In the gap between finishing K168 to K173 and composing the set of six
stringquartetsdedicatedtoHaydn(publishedbyArtariain1785),Mozart
wasnotidle:hevisitedMunichwherehewascommissionedtowritehis
opera La Finta Giardiniera, which brought him success and accolades
(wonderfulgeniusamongstothers.)HereturnedtoSalzburg,which,after
hisvisitstoItalyandVienna,andparticularlytheadulationhereceivedasa
childprodigy,musthaveseemedprovincialintheextreme.Mostconfining
of all was the post of Concertmaster for the Archbishop of Salzburg,
HieronymusColloredo.Mozartsfatherencouragedhimtorefinehisviolin
playing, resulting in the composition of several violin concertos around
that time. However, the recently invented pianoforte fired Mozarts
imaginationrathermorethantheviolin,andhewroteanumberofpiano

95010MozartCompleteEdition
28


concertos, as well as organ sonatas, symphonies and masses, as well as
manysopranoarias,andhisoperaDieEntfhrungausdemSerail.Mozart
finally settled in Vienna in 1781, and in the ensuing ten years, he
composedhismostmatureworks,marriedConstanzeWeber,hischildren
werebornandhebecamemoreinvolvedwithFreeMasonry,allofwhich
addedtohisinspiration.

The first of Mozarts six String Quintets dates from the period of the
Quartetsmentionedaboveandmustbe consideredapartfromtheother
Quintets, all of which come from Mozarts final years. Like the Quartets,
K174 was composed on Salzburg and in the Spring of the year 1773.
Despite this, by December of that year, Mozart had revised the work
considerablybysubstitutinganewtriointotheMinuetandbyalteringthe
finalmovementconsiderably.Thereasonforthecompositionofthepiece,
likesomanyworksofMozart,isunknownalthoughitispossiblethatboth
Haydn and Boccherini may have been an influence in this beginning of
compositiononanewform(theItaliancomposedwelloveronehundred
suchQuintets).

ThefirstQuintetisinBflatmajorandconsistsoffourmovements.Thefirst
movementisanAllegromoderatowhichattimesseemstoveertowards
beingasimpleQuartetwherethecellopartisoftensilentalthoughMozart
seemstoenjoywritingforhisviolapartinparticular.Thisisfollowedbyan
Adagio in which the violins and violas remain muted throughout and the
cello remains always sempre piano. The Minuet and Trio that follows
makes use of echo effects and the final Allegro is an example of sonata
formwithextensivecontrapuntalepisodes.

The second of the Quintets (K 406) on this CD is the one in C minor and
dates from a whole thirteen years after the first; technically it would be
referred to as the Fourth Quintet, following K 515 and 516. Not that
MozarthadbeenidleinthistimebutitisperhapssurprisingthatK406(or
as it has been latterly reassigned K 516b) is not an original work, but a
rescoring of the wind Octet (K 388). The transposition was a simple one
and it allowed Mozart to add a third Quintet to the two he had been
writingin1788withouttheeffortofstartingfromscratchwheneverthe
originalwindversionprovedproblematical,suchaswithsomeofthehorn
writing,Mozartmerelydeletedtheoffendingpassage.Despitethesuccess
of the original wind version, this new Quintet had little success originally
andwaspublisheduntil1792.Itisagaininfourmovementswithtwoouter
AllegrosframinganAndanteandacanonicMinuet.
Dr.DavidDoughty

STRINGQUINTETSK515&593(CD70)
In 1786, the Marriage of Figaro was first performed in Prague, where
MozartwasmuchmorecelebratedthaninhischosenhomecityofVienna.
HisfatherLeopoldwasdelightedtowitnessthequalityofthisopera,and
thrilled by the success it brought his son. During the previous few years,
Leopold had disapproved of Mozarts life style, and his marriage to
Constanze, but Mozart dearly loved his father, and the real affection
between them never waned. Mozarts rich spiritual life and mature
philosophy of the brotherhood of man gained or cemented through his
membershipofFreemasonry,waspartlyduetothecontemporarythinking
inVienna,butsurelymuchofthismusthavebeenduetotheupbringinghe
had.TherehadalwaysbeenasenseoffunintheMozarthousehold,but
alsoagreatdrivetobeonesbest,andtolooktothehigherthingsinlife.

InspiteofthegreatsuccessofFigaro,Mozartsfinanceswerenothealthy.
Thecomposerwouldhavejustbeenpaidforthecomposition,andinthose
daystherewerenoroyalties,sonomatterhowsuccessfulapiecewas,and
how often it was performed, the composer did not benefit financially to
anygreatextent.But,Mozartwasinhiscreativeprime,andcontinuedto
compose numerous works, constantly refining and developing his ideas.
Mozarts life, reflected so well in his music, was one of fascinating
contrasts:hecouldbefrivolousandsparklingasdemonstratedinthemany
letterstohissisterandhiswife.Constanzewasnointellectual,butthisdid
not seem to put a strain on their emotional relationship: she was a
companionfulloffun,whocouldlaughwithhim,andentertainhiminthe
bedroom.Mozartwasamanofparadoxeswhicharefullyembodiedinall
his compositions. The apparent transparency of some of his works belies

the depth of feelingunderneath, but occasionally the real passionsurges

tothesurface,leavingthelistenerinnodoubtthatMozarthadagreatand
noblemind.

The two Quintets on this disc date from Mozarts final years, an early
exampleofthegenrehavingbeenwrittenin1773,afterwhichMozarthad
composednofurtherQuintetuntiltheseriesofK515,516and406(516b)
of1787.TheCmajorQuintet(K515)wascompletedon19thApril,tobe
followedonlyweekslaterbyK516on16thMay.Asmentionedabove,the
masterworkthatisFigarowasnowbehindMozartandaheadwastobe
the much darker world of Don Giovanni. It is that later opera which
perhapsthrowlightonthestylesofthetwoQuintetsoftheSpringof1787.

UnlikeK516,theCmajorworkisgenerallyanuntroubledwork.Itisinfour
movementswithboththeopeningandclosingmovementsmarkedsimply
Allegro:inbetweencomeanAndanteandaMinuetandTrio.Despitethe
approach of Don Giovanni it is Figaro which pervades the opening
Allegro.TheAndanteisafinedialoguebetweenthefirstviolinandviolato
the accompaniment of the other strings.The following Minuet is notable
for the length of its trio section and finally, Mozart rounds off the piece
withwhatishissinglelongestinstrumentalmovement,amixtureofRondo
andSonataforms.

TheDmajorQuintet(K593)isMozartspenultimateworkintheformand
wastheresultofacommissionfromananonymousHungarianadmirerand
although the work follows the usual four movement plans of the earlier
Quintets,itsopeningmovementissomewhatuniqueinitsjuxtapositionof
LarghettoandAllegrosections.ThefollowingAdagiotakesideasfromthe
opening Larghetto and the Minuet and trio is one of Mozarts finest
movements of its type. The final Allegro opens with a difficult chromatic
figure, simplified on publication and builds up to several fugato
movements,someofMozartsmostmasterlywritingfortheQuintet.
Dr.DavidDoughty

STRINGQUINTETSK516&614(CD71)
From about 1788 onwards, Mozart had been beset with financial
difficulties,tothepointwherehewrotebeggingletterstohisfriends,who,
althoughgenerousintheirsupport,couldnotentirelyfundthecomposers
life style. Mozarts productivity was affected by worry, and his major
creativeoutputstartedtodeclineinquantity,ifnotinquality.Constanzes
continuingillhealthaddedtothefinancialburden,withdoctorsbillsand
visitstoSpastobepaidfor.However,hewasgiven100FriedrichsdOrfor
the Prussian quartets in Berlin, and with that came an offer of a post,
whichMozartdeclined,itissaidoutofloyaltytotheViennese.Inspiteof
all these difficulties, Mozart continued to innovate and to challenge
musicalboundaries.ThequartetsK589andK590,whilststillformingpart
of the three Prussian quartets, had a less prominent part for the cello
thantheirpredecessor,K575.

MozartsfirstStringQuintethadbeenwrittenasearlyas1773,afterwhich
he left the form for another thirteen years when he had already left his
hometownofSalzburgandsettledinVienna.Bythistime,hewasafully
mature composer with some of his finest works already behind him and
moretocome.WhyMozartdecided,aftersuchalonggap,toreturntothe
idea of the String Quintet is unsure, it has even been suggested that the
death of Frederick the Great and the accession of his amateur cellist
successor may have spurred Mozart into writing the Quintets.Mozart
would also have noticed that Boccherini, a major composer of Quintets,
had been made the new Prussian Court Composer.Whatever the real
reason may be, Mozart wrote a further five Quintets for Strings in the
period from April 1787 to April 1791. Despite the quality of the works
Mozart was producing in Vienna, he was hounded by poverty and he
offeredthreeofhisQuintetsonasubscriptionbasisinApril1788,hoping
therebytoraisesomemoneyforhisfamilyandhimself.

The G minor Quintet (K 516) immediately follows its predecessor and

makesupsomethingofapairforwhereastheearlierCmajorQuintetisa
mellowandtroublefreepiece,theGminorQuintetissombreandgrave.
OriginallyconceivedinAminor,Mozartwasunhappywithhischoiceofkey
andrevertedtothemoreusualGminor.ItisthisQuintetwhichwasalways

95010MozartCompleteEdition
29


themostoftenplayedoftheset,somehowcatchingtheimaginationofthe
listenerwithitsthreadofmelancholy.

Like all the Quintets, K 516 is in four movements with two outer fast
movements framinga slow movement and a Minuet. Theopening of the
firstmovementalreadysetsthemoodofmelancholyandtirednessandthe
movementremainsoneinmood,interruptedonlybypassagesofturmoil.
TheMinuetwhichfollowsis,likethefirstmovement,inGminoralthough
themoodlightensalittleforaGmajortrio.TheslowmovementinEflat
has the strings muted throughout whereas the Finale begins with an
Adagio introduction which builds to an unbearable stress before the 6/8
Allegroproperwhichevenwithitsoutwardjollitycannotdismissthemood
ofdespairoftheQuintetentirely.

The sixth and final Quintet is in E flat major and follows the same four
movement plan as the others. This time however, the opening Allegro di
molto opens with the viola solo and as the movement progresses, the
other instruments seem to be given the role of bravura ornamentation.
TheAndanteslowmovementisafreesetofvariationswhichseemsalmost
tobeaconcertomovementinminiature.TheMinuethasatriobasedon
theLaendlerdanceandseemstoechocloselythemusicofMozartsgreat
friend and mentor, Joseph Haydn. Haydns spirit is never far away in the
FinaleeitherwhichisagainamixtureofRondoandSonataformandwhich
setsthesealontheQuintetformandindeedthechambermusicforstrings
underMozartspen.
Dr.DavidDoughty

STRINGTRIOK563(CD72)
For most of the mid to late 1780s, Mozart was beset with financial
difficulties,tothepointwherehewrotebeggingletterstohisfriends,who,
althoughgenerousintheirsupport,couldnotentirelyfundthecomposers
life style. Mozarts productivity was affected by worry, and his major
creative output started to decline in quantity, if not in quality. His wife,
Constanzes continuing illhealth added to the financial burden, with
doctors bills and visits to various health Spas for water cures to be paid
for. However, he was given 100 Friedrichs dOr for his Prussian String
Quartets in Berlin, and with that came an offer of a post, which Mozart
declined, it is said out of loyalty to the Viennese. In spite of all these
difficulties, Mozart continued to innovate and to challenge musical
boundaries.

ItisworthdwellingonthelegacythatMozartlefttheworldwithhisstring
quartets and other chamber works for strings and solo instruments. He
himselfplayedbothviolinandviolainchambermusic,themostintimate
musical expression between fellow spirits. Perhaps in the chamber music
aboveall,isfoundtherealMozart:thelongdevelopmentofthequartets
fromtheearlyK80,writtenwhenhewasfourteen,toK590,writteninthe
yearbeforehedied,displaytheinternalworkingsofMozartsgeniusasdo
thelatechamberworkssuchastheClarinetQuintetandthefivelateString
Quintets. He dazzles the listener and player alike with the sheer
inventivenessofthecompositions.Mozartminedeveryaspectofchamber
forms for every last nugget of inventiveness. There are variations on
melodies, canonic imitation, fugal writing, different textures, operatic
arias,stagydramaticchords.Inadditiontothis,Mozartwasawareofthe
technical aspects of the instruments he was writing for. He loved to
challenge the player as well as the listener, pushing everything to its
artistic extreme, writing in ways that were often extremely forward
looking,buthedidthisseamlessly,incorporatingthemusicaltraditionshe
wasborninto.

With such a wider range of compositions for chamber groupings, it is

perhaps surprising that Mozart only wrote one trio for strings. True, he
composed a series of successful piano trios with strings but K 563,
completedonSeptember27th1788,isthesoleexampleofitsgenreinhis
output. Historically, this unique work comes between the Hoffmeister
QuartetandthefirstofthePrussianQuartetsandsharesthesameyearas
Mozartslastthreesymphonies.

ThereisonepredecessortothistriointheincompletefragmentthatisK
Anh 66 in G major but the Trio here under consideration is one of those

worksthatMozartwroteasadebtofgratitudetooneofhispatronsand
friends, this time his brother Freemason, Michael Puchberg. After its
premiere in 1788, it was repeated in Dresden where Mozart claimed it
wasplayedquitedecently.

This is not a Trio in the conventional sense but actually a Divertimento

spanning as many as six movements (sei pezzi). Neither can it be
considered as an open air work for performance as some of his other
Divertimenti and serenades, this is a true chamber work that possibly
outgrew its original conception. The movements consist of an opening
Allegro followed by a slow movement and Minuet with Trio but then
instead of moving into a Finale, another slow movement and a second
Minuet and two trios follow before the final Allegro. The second of the
slowmovementsisdifferentiatedfromthefirstbyitsformofvariationson
athemejustasthe secondMinuethasitsdoubletrioformattocontrast
withtheearliermovement.Themusicisalwaysofthehighestofstandards
with a serious aspect to the opening Allegro, a breadth and depth of
feelingtotheAdagioandoneofthemostamiableofallhisfinalAllegros.
EachoftheinstrumentsisgivenitsowndueweightandtheTrioisnoless
thanoneofMozartsgreatlatechambermasterworks.
Dr.DavidDoughty

DUOSK423424TRIOK266(CD73)
InthedozenorsoyearsbetweenfinishinghissixStringQuartets(K168to
K 173), which he wrote in Vienna in 1773, and composing the set of six
stringquartetsdedicatedtoHaydn(publishedbyArtariain1785),Mozart
wasnotidle:hevisitedMunichwherehewascommissionedtowritehis
opera La Finta Giardiniera, which brought him success and accolades
(wonderfulgeniusamongstothers.)HereturnedtoSalzburg,which,after
hisvisitstoItalyandVienna,andparticularlytheadulationhereceivedasa
childprodigy,musthaveseemedprovincialintheextreme.Mostconfining
of all was the post of Concertmaster for the Archbishop of Salzburg,
Hieronymus von Colloredo. Mozarts father Leopold encouraged him to
refine his violin playing, resulting in the composition of several violin
concertos around that time. However, the recently invented pianoforte
fired Mozarts imagination rather more than the violin, and he wrote a
number of piano concertos, as well as organ sonatas, symphonies and
masses,aswellasmanysopranoarias,andhisoperaDieEntfuehrungaus
demSerail.MozartfinallysettledinViennain1781,andintheensuingten
years,hecomposedhismostmatureworks,marriedConstanzeWeber,his
childrenwerebornandhebecamemoreinvolvedwithFreemasonry,allof
whichaddedtohisinspiration.

At the time when Mozart was busy refining the art of String Quartet
writingandcreatingsomeofthegreatmasterpiecesofthegenre,healso
tooktimetocomposetwoinspiredworksforthesmallercombinationof
violinandviola.Thesearethelittleknown,buthighlyaccomplishedDuos
inGmajor(K423)andBflatmajor(K424).Atthetime,in1783,Mozart
wasclosetothecomposerMichaelHaydnandithasbeensuggestedthat
Mozart wrote these two Duos to complete a set of six for his friend and
colleaguewhohadfallenillatthetime.Thestoryisdistinctlyapocryphal
but it is likely that Michael Haydns work on his own Duos may have
promptedMozarttotryhishandattheformalso.

ThereisaclearrelationshipbetweenMozartstwosmallmasterworksand
the sets of Duos by both Joseph Haydn (six in all) and by Michael Haydn
(the four mentioned above), all written in the 1770s. All are written in
threemovementformwithacentralslowmovementandconcludewitha
RondooraMinuet.ButinthecaseoftheDuosbythetwoHaydns,thereis
littleofcharacterotherthanasoloviolinpartwithaviolaaccompaniment,
quite different from Mozarts truly integrated duet form. Mozarts two
pieceswerecomposedinSalzburgandrepresentanamazingdevelopment
fromtheearlierworks.

Mozartavoidstheproblemsofalackofbasslineinhisworksbyallowing
histwosoloiststohaveequalweightinatexturewhichsoundsdistinctly
fuller than two solo stringed instruments would normally be expected to
achieve.BothoftheDuosareintheconventionalternaryformwithslow
movementsthataretrulydeepinfeeling.JustasHaydnhaddonebefore
him,MozartconcludestheBflatDuowithasetofvariationsandalsolike

95010MozartCompleteEdition
30


Haydn, Mozart keeps those intense middle movements short. These are
works of a master musician, too often ignored simply because of the
apparent simplicity of their form but forever revealing new depths of
charmandlyricism.

ThepresentdisciscompletedbyanincompletetwomovementSonatainB
flatwritteninSalzburgduringthespringof1777justbeforeMozartsfinal
GrandTourofEurope.Itis,despiteitsearlydate,acharmingpiecewitha
noteworthysecondmovementMinuet.
Dr.DavidDoughty

PRELUDES&FUGUESK404A(74)
JohannSebastianBachholdsapositionquiteuniqueintheannalsofmusic
before Mozart as simply the greatest and most prolific composer of his
time.LikeMozart,hewasadeptatwritingforvariousinstrumentsandin
variousformsfromthegrandeurofthePassionsettingsandBminorMass
throughanenormousseriesofChurchCantatasforthereligiousfeastsof
the year to the more intimate concertos, suites and music for solo
instruments. Few listeners will be unaware of the Suite, Sonatas and
Partitasforkeyboard,celloandviolinandnonewillhavefailedtocomeup
againsttheseriesoffortyeightpreludesandfuguesthatgounderthetitle
of The Well tempered Clavier. Bachs sons carried on this musical
tradition,somemorenoteworthilythanothersanditisknownthatMozart
wasinfluencedbytheworksofCarlPhilippEmanuelBach,closetohisown
time.

During most of his own lifetime, J S Bach was principally known as a

keyboard player and a great improvisor both on the harpsichord and on
theorganaswellasbeingsomethingofatechnicianfortheinstrumentshe
played. Bach was both an innovator and a teacher and nowhere is this
blendofexpressionanddidacticsmoreapparentthaninthefortypreludes
andfugues.TheWohltemperierteClavierconsistsoftwoseparatebooks
containingtwentyfourpreludesandfuguesineachbook,eachonewritten
in one of the twelve major and minor keys. The fugues are written in as
many as five different voices which often can obscure the melodies and
themes the works are initially based upon. The preludes themselves are
theforerunnerstoooflaterseriesofsolopieces,notonly(mostobviously)
in Shostakovichs homage to the earlier composer but also, at some
distanceperhaps,ofworkssuchasChopinshighlyromanticisedpreludes
andstudiesorScriabinsownoftenhighlyperfumedandoftenaphoristic
setsofpreludes.

Although Mozart was clearly influenced by composers of his own and

earliertimes,hisdebttoBachisoftenoverlookedincomparisontosaythe
more obvious borrowings from his mentor, Haydn. Bach, however, is
clearly an influence to be strongly felt inMozarts counterpoint from the
chamber works to the Masses, choral works and even such a passage as
theduoforthetwoarmedmeninaworkaslateasTheMagicFlute.

One of the most significant events in this respect was Mozarts meeting
with Baron von Swieten, best remembered nowadays perhaps for his
collection of Handel oratorios which were to influence his and Haydns
collaborations on the latters Creation and Seasons, the two great
oratoriosofHaydnsfinalyears.VonSwietenwasanofficialatthePrussian
ImperialCourtfrom1770until1777wherehefellundertheinfluenceof
theworksofBach.AswellasvisitingBachssonCarlPhilippEmanuel,Von
SwietenreturnedtoViennawithseveralmanuscriptsoftheoldermaster
includingacopyofTheWellTempered Clavier.TheBaronhadhisown
string trio and it was for them that Mozart decided to arrange some of
Bachspreludesandfuguesandotherworkscreatingashedid,something
of a unique synthesis between the intellectual rigoursofBachs northern
style and the more sensuous aspects of the Italian style Mozart had
becomesomuchapartof.ThegroupingofK404aconsistsofsixofthese
pieces,threecomingfromthesetoftheFortyEight(BWV853,882and
883)whilsttheremainingthreepiecesarearrangementsofanAdagiofrom
the D minor Organ Sonata (BWV527), coupled with a fugue movement
from The Art of Fugue (BWV1080), a Largo from the C minor Organ
Sonata(BWV526)coupledwithafuguefromthesamepieceandfinallyan
Adagio and fugue actually by Wilhelm Friedmann Bach, one of the

composerssons.TheserieswasenvisagedforaseriesofSundaymorning
concertsinViennaanddatefromthesummerof1782.
Dr.DavidDoughty

STRINGQUARTETSK155160(CD75)
Chamber music was an integral part of Mozarts life, and he wrote and
played many works for various combinations of instruments. As well as
being a consummate keyboard player, Mozart played the violin and the
viola.Thereis,however,verylittledocumentationofthecreativeimpetus
to write the string quartets. Some were commissioned, and some were
prefaced with dedications from Mozart (most famously, the six Haydn
Quartets).

ThesixquartetsK155toK160,canbetreatedasaset.Mostlycomposed
inMilan,in1772and1773duringhisthirdtourtoItaly,theseyearswere
immenselyproductivebothathomeinSalzburgandontourandgaverise
to the opera Lucio Silla, seven symphonies, numerous songs and the
Exultate Jubilate.Within this group of quartets, Mozart consciously
explores the relationship between keys which make logical harmonic
progressthroughDmajor,Gmajor,Cmajor,Fmajor,BflatmajorandEflat
major,eachmodulationmovingtothesubdominant.Thequartetsallhave
3movements,aformreminiscentofBaroqueItalianstyle.

Again, Mozart shows his talent for variety through the pacing of these
movements. There is no set pattern of the sequence of slow or fast
movements,butalwaysacontrastbothwithineachindividualquartet,as
well as between the various different works. There are many notable
pointstolistenoutforinthesepieces:themusicisalwaysfullofcontrasts
for example, the lighthearted, melodious opening to K 155, briefly
followed by a fugal passage, as if to try out a more intellectual form of
communication,leadingtoagracefulAndante,followedbyaplayfulMolto
AllegrotowakenthelistenerfromcontemplationofthelushAndante;the
poignantAdagioofK156,matureandintense;thepassionateAllegroinK
159, which follows a refined, rhythmically imaginative Andante. The final
mood changes swiftly and without jarring, to the Rondo and Allegro
Grazioso.

Although the creative impetus for the composition of these pieces is not
known, the listener can hear the maturing composer exploring and
learning his craft. In the eighteenth century, chamber music would
certainly not have been intended for public performance as is now the
norm and these chamber works often contain some of the composers
mostintimateandpersonalthoughts.Mozartcertainlyplayedhisownand
othercomposersworkswithfriendsandfamily,andwemustalsobearin
mind the intimate and unspoken emotional communication between
playersofanykindofchambermusic.

The developing sureness of melody, harmony, texture, and drama is

obvious throughout these works. Only months after the completion of K
160,Mozartwastoembarkonanothersetofsixquartets,whichshowthe
influence of the person who was to become his musical mentor, and to
whomhewouldeventuallydedicateyetanothersetofsixstringquartets:
JosefHaydn.
Dr.DavidDoughty

STRINGQUARTETSK168173(CD76)
In August and September 1773, Mozart was in Vienna, where his father
Leopoldwastryingtoobtainapostforhistalentedson.Perhapsthiswasa
reasonforLeopoldtoencourageWolfgangtowriteasetofstringquartets,
withtheintentiontoprovidemusicfortheImperialCourt.Itisalsofairly
certain that, during this visit to Vienna, Mozart would have been made
aware of Haydns quartets Opus 17, finished in 1771, and of Opus 20,
completed in 1772. Haydn became the strongest influence on Mozarts
music,andMozartreferredtohimashisMaster.

The most obvious change in the structure of the K 168K 173 string
quartets is that all have four movements, instead of the three in each of
theK155K160quartets.Thisdevelopmenttookplaceinaverybrieftime
span: only a few months separate the completion of K 160 and the

95010MozartCompleteEdition
31


beginningofK168.MozartalsobeginstouseSonataForminthesepieces,
aformalsotobeusedinhissymphonies,chambermusicandinmusicfora
single instrument.Within each movement, Sonata Form is used as a
structurewithinwhichthecomposerdevelopsthemesintermsofmelody,
harmony and rhythm. A typical format of a movement would be:
Introduction, Exposition (first idea in the home key, second idea in a
related key), Development (various keys, variation on the ideas from the
Exposition),Recapitulation(firstandsecondideasbackinthehomekey),
leadingtoafinalcadenceoraCodareconfirmingthehomekey.Although
thismayseemastrictform,itgavecomposersaframeworkwithinwhich
to work, and the form is still used today, which surely means it was a
challenge composers have relished rather than a stricture to their
inspiration.

Bearing in mind that Mozart may have been set a task by his father to
composesomestringquartetsasshowpiecestotryandobtainapostat
theCourt,thereismuchevidenceofdevelopingcompositionaltechniques
in these pieces, as well as purely emotional inspiration. Some of Haydns
musicaldisciplineseemstohaverubbedoff,andMozartisobviouslyusing
specifictechniquessuchasfugues(inthefinalmovementsofK168andK
173).

Thereissomesymmetryofthoughtinthesequenceofthekeysofthisset
ofquartets,althoughtheflowisnotasmusicallysatisfyingasthesequence
ofthepreviousset.Here,MozartusesFmajor,Amajor,Eflatmajor,Bflat
major and D minor. However there is now a better balance between
players,andthecelloismoreindependentnotjustanecessarybassline,
more an equally involved member of the quartet, with its own melodic,
harmonicandrhythmicinterest.

TheopeningofK168inFmajor,containssomeimitativecounterpoint,as
does the final Andante, only here it is a full fugue, demonstrating his
knowledgeoftheform.K169beginsinanassuredanddeclamatorytone,
withsomelivelywritingforallpartsincludingthecello.Thisisfollowedby
a richlytextured Andante, and then a halting Minuet, giving an idea of
Mozarts humour. The final Rondeau and Allegro is spiky with a Baroque
feeltoitsfoursquarepeasantstyledance.

The Andante at the beginning of K 170 is full of dialogue between the

parts, in different characters, reminiscent of some of Mozarts operatic
ensembles, some serious voices, some coloratura, some commenting. A
sprightlyminuetfollows,notdevoidofchromaticinterest.Thisgivesway
to one of Mozarts elegant Adagios, with responses from the lower
instruments. The Rondeau and Allegro bring the mood back to a light
heartedconfirmationoflife.

ThecontrastofmoodsthatMozartwasamasterindepictingisobviousin
K 171, with its mysterious and slightly chilling opening, immediately
dispelledintooneofhislangorousmelodies.FollowingthisistheAndante,
again in a sombre vein dispersed by a final, lively Allegro Assai. K 172
begins with sunny assurance, contrasting with another rich Adagio in the
second movement. The Menuetto opens as if it were a classic version of
the genre, reminiscent of Haydn, but also of Mozarts own keyboard
sonatasbutwithsomeaddedcounterpoint.TheAllegroAssaiisasassured
asthefirstmovement,fullofsparklingchallengesfortheplayers.Dminor,
oneofMozartsmostdramatic,personalandsadkeysisusedforthelast
quartetofthisgroup.K173openswithatragicfeel,andseemsmuchmore
maturethantheprecedingpieces.TheAndanteisseriousandgraceful,the
Minuet in a minor key, and not very dancelike or playful. The final
movementisafullydevelopedfugue,andalthoughitissurethatMozart
wasusingthesepiecestoimproveandshowoffhisskills,thereismuchto
admirehere.
Dr.DavidDoughty

STRINGQUARTETSK387&K421HAYDNQUARTETS(CD77)
MozarthadwrittenhissetofsixStringQuartetsK168K173probablyin
the hope of getting work at the Court in Vienna in 1773. Although the
attempttoobtainworkwasunsuccessful,thevisitwashighlysignificantin
otherways:MozartcameundertheinfluenceofHaydn,andhisskillsasa
composerincreasedpartlyduetothepractiseMozarthadinwritingthese

sixquartets.However,thedisappointmentMozartmusthaveexperienced
at his rejection in Vienna may have deterred him from using the String
Quartetformatfornineyears.

MozartssearchforworktookhimtoMannheimwherehefellunderthe
influenceoftheMannheimSchoolbuiltaroundthesuperborchestraofthe
CountyElectoraswellasParisandVienna,whereheeventuallysettledin
1781,wellawayfromtheunhappypressuresofhisnativeSalzburgandhis
patron Archbishop Colloredo. The following period from 1782 was an
enormously significant one for Mozart: he married Constanze Weber,
wrotethefirstofhisHaydnQuartets,andhisfirstchildwasbornin1783.
Around this time, he also became more and more deeply involved with
Freemasonry.Thefollowingperiodalsosawthecompositionofsomeofhis
most mature works: operas, such as the Magic Flute, the Marriage of
Figaro,DonGiovanni,andthelatesymphoniesandconcertos.

As with Mozarts earlier quartets, there is no firm documentation

regardingtheimpetustowritethisparticularsetofquartets,andwhether
theywerewrittenspecificallyasahomagetoHaydn,orwerededicatedto
himafterthefirstfewwerecomposedisnotknown.Whatisknownisthat
the year 1785, when the set was published, was a very creative year for
Mozart, and he was extremely popular with audiences and the buying
publicalike.Mozartspublisher,Artaria,wasalsothepublisherofHaydns
works.

The six Haydn quartets were composed as a set, and took Mozart about
two years to complete. Very unusually for Mozart, he made many
alterations to these pieces, rather than having them planned out in his
mind and then writing them down in one sitting. Perhaps his extremely
highregardforHaydnmadeMozartstriveharderthaneverforsomething
perfecttodedicatetohismentor.

The Quartet K 387 is in G major and opens with an Allegro Vivace Assai,
with a theme containing some chromaticismswhich become a featureof
the whole quartet. This is an elegant movement, skilfully flowing, giving
contrast between textures, melody, chromaticism, and using every
instrumentasasoloist.ThesecondmovementMenuettoisfullofrhythmic
and melodic subtlety with nothing left of the foursquare dance
movementsofMozartsveryearlyminuets.Againuseismadeofchromatic
figures, with the instruments answering each other. In the Andante
Cantabile, Mozart is expansive, exploring many related keys, but with an
air of calm, the cello used as a full member of the quartet, with solos,
rather than just being a straight bassline. The final movement, marked
Molto Allegro makes much use of counterpoint, mingled with sprightly
dance rhythms, still toying with chromaticisms, but finishing calmly if
somewhatabruptly.

TheQuartetK421isinDminor.TheopeningAllegrocontrastsaflowing,
almost improvised melody and a more structured succession of phrases.
ThespaciousAndantewhichfollowsmovesintotherelatedkeyofFmajor,
where the first violin has the most important role. The Menuetto has a
sombre,dramaticmood,lightenedbyasimpleTrio.ThefinalAllegrettoisa
set of variations on a Siciliana rhythm, full of interest in the interplay
betweenthefourinstruments.
Dr.DavidDoughty

STRINGQUARTETSK428&K458THEHUNT(CD78)
InthegapbetweenfinishinghissixStringQuartets(K168toK173),which
he wrote in Vienna in 1773, and composing the set of six string quartets
dedicatedtoHaydn(publishedbyArtariain1785),Mozartwasnotidle:he
visited Munich where he was commissioned to write his opera La Finta
Giardiniera,whichbroughthimsuccessandaccolades(wonderfulgenius
amongst others.) He returned to Salzburg, which, after his visits to Italy
andVienna,andparticularlytheadulationhereceivedasachildprodigy,
musthaveseemedprovincialintheextreme.Mostconfiningofallwasthe
post of Concertmaster for the Archbishop of Salzburg, Hieronymus von
Colloredo. Mozarts father Leopold encouraged him to refine his violin
playing, resulting in the composition of several violin concertos around
that time. However, the recently invented pianoforte fired Mozarts
imaginationrathermorethantheviolin,andhewroteanumberofpiano

95010MozartCompleteEdition
32


concertos, as well as organ sonatas, symphonies and masses, as well as
manysopranoarias,andhisoperaDieEntfhrungausdemSerail.Mozart
finally settled in Vienna in 1781, and in the ensuing ten years, he
composedhismostmatureworks,marriedConstanzeWeber,hischildren
werebornandhebecamemoreinvolvedwithFreeMasonry,allofwhich
addedtohisinspiration.

ThededicationoftheQuartetstoHaydnwasbornoutofgreatadmiration,
HaydnwasMozartsmusicalfather.(Haydnwasfrequentlyreferredtoas
Papa Haydn, not only by Mozart). In the touching letter of dedication
which Mozart wrote to Haydn, Mozart refers to these six quartets as his
children: Here they are now, O great man and dearest friend, my six
children..May you therefore please receive them with kindness and be
theirfather,mentorandfriend!ThemiddlepairofquartetsintheHaydn
setofsix,areinrelatedkeys:K428isinEflatmajor,andK458isinthe
related dominant key of B flat major. As with all the Haydn quartets,
theseexploitsonataformtothefull,andwithbynowfamiliarMozartian
creativity.

K428wascomposedin1783,thesameyearasSymphonynumber36,the
Horn Concerto in E flat major, several Piano Concertos and many vocal
pieces, with this large volume and variety of creativity carrying on into
1784, when the quartet K458 was written. In yet more imaginative
explorationofcontrasts,Mozartexploresdynamiccontrastsintheopening
Allegromanontroppo,theinitialphrase,softandunison,beinganangular
chromaticmelody,almostprefiguringthe12tonemusicoftheearly20th
century.Asalways,Mozartneverallowsanythingtobecomeordinarywith
contrastingdynamicsandvirtuosotripletsinthisfreeflowingmovement.
ThegracefulAndantehasamorestrictlystructuredmelody,butstillbears
tracesofchromaticism.Itmodulatesthroughmanyrelatedkeys,andhas
an almost Romantic feel, ahead of its time. The Menuetto takes the
listenerbysurprisewithitsbrusqueliltandheavyunisonchords,butsoon
evolvesintodelicaterepeatednotesinthelowerparts.Harmonically,this
movementisfullofinterest,withunusualmodulationsthroughCminor,to
Bflat,thenfromGminortoF,toBflat,andeventuallyconcludinginthe
tonic E flat major. The final Allegro Vivace starts in a light vein, but
gradually becomes more and more dramatic. Fast, running figures are
contrastedwithdramaticchordswhichstopthecascadesofnotesintheir
tracks. The final few bars are typical Mozartian drama: four pianissimo
chords,withfourloudchordsinconfidentretort.

TheHuntisthetitleofK458,andisoneofthebestknownquartetsof
this set. The name was not allocated by Mozart, but by contemporary
listeners, who would have been familiar with the idea of the 6/8 time
signaturebeingusedtorepresentahuntingstyle.Thereasonforitsname
isimmediatelyobviousintheopeninghuntinghorngallopingchords.Here,
Mozart demonstrates the full possibilities of Sonata Form, playing with
themes,recapitulations,keystructures,allofwhichneverseemrepetitive
or contrived. The Menuetto is stately and graceful, even though it has
strongaccentsonthethirdbeatsofsomeofthebars,whichmightmakeit
seem unstable, but somehow manages to keep a sense of dignity. In the
trio, lightness of step is the order of the day. The Adagio moves to the
warmkeyofEflatmajor,forarefinedandelegantmelodyonadeceptively
simple harmonic structure. Full of sophistication, like some of his mature
operaticarias,itisneverblandalthoughitisslow.Mozartshowsusagreat
exampleofSonataForminthefinalAllegroAssai.Fastandfurious,fullof
fun, it is in contrast to the luscious mood of the Adagio. Again, there is
counterpoint,differenttextures,syncopations,interestandvariety,ending
withsurefootedverve.
Dr.DavidDoughty

STRINGQUARTETSK464&K465DISSONANCE(CD79)
The admiration between Mozart and Haydn was mutual. Indeed Haydn
saidtoMozartsfatherLeopold,afterheheardaperformanceofthefirst
threeoftheHaydnquartets:InthefaceofGodandasanhonestman,I
tell you that your son is the greatest composer known to me either
personally or by reputation. It seems that this was not just grateful
flattery, as Haydn really did hold Mozart in awe. He refused to write an
operaforthePragueoperahouse,asitwouldhavebeenverysoonafter
MozartsDonGiovanni,andinHaydnswords:Iwouldruntoomanyrisks,

for it would be difficult for anyone, no matter who, to equal the great
Mozart.

Although Mozarts financial circumstances were often uncertain, as he

worked mainly in a freelance way, and spent his money as fast as he
earned it, Mozart was in the midst of his creative prime in 1785, when
theselasttwoHaydnquartetswerewrittenanditwasaroundthistime
thathemetDaPonte,atthecourtoftheEmperorJosephII.Thiswasto
proveoneofthemostimportantcollaborationsinMozartslife,asitwas
DaPonteslibrettiwhichinspiredhimtowritehismostoutstandingoperas
suchasTheMarriageofFigaro,DonGiovanniandCosifanTutte.

ThelasttwoquartetsdedicatedtoHaydnwerewrittenin1785,theyear
thewholesetofsixHaydnquartetswerepublished.Composingthisset
ofsixquartetshadbeenalonganddrawnoutprocess,perhapsbecauseof
theimportanceMozartattachedtotheirdedication.Theoriginalworkings
ofthequartetsshowalaboriousprocessofcrossingoutandstartingagain
ofmanysections.

ThequartetK464isinAmajor,withfourmovements:Allegro,Menuetto,
Andante, Allegro. Mozart uses the dotted rhythm of the opening bars to
the full during the first movement, the Allegro. This movement has an
extended development, making full use of dialogue between the
instruments,imitation,surprisingmodulations,alldemonstratingMozarts
increasing mastery in the medium of the string quartet. In this quartet,
Mozart has a reversed the traditional sequence of the second and third
movements, to be a Minuet followed by an Andante. In the second
movement,Mozartprovidesthelistenerwithaminuetandtrio,wherehe
again makes use of variation: if not of the theme, then of parts of the
theme.TheAndanteislong,gracefulandrichincontent.Somelinkscanbe
madetothequartetK421,whichalsocontainedavariationmovement.He
makes full use of embellishments of the melody, as well as harmonic,
tempi and metre variations, all producing a depth of interest and
expression. The final movement, Allegro, makes diverse use of
chromaticism and counterpoint, with the latter feature sometimes
between individual instruments, and sometimes between pairs of
instruments.Theclosingbarsseemalmosttongueincheek,withatypically
confidentpianissimo,chromatictothelast.

ThelastinthisseriesofHaydnquartets,K465,isoneofthebestknown
quartetsofthesetandindeedofallMozartsworksintheform.Knownas
the Dissonance, the quartet was given its title after the mysterious
openingofthefirstmovement;musicwhichseemstogroworganicallyasif
from nowhere, and which has a strangely progressive and almost late
romanticfeelaboutit.ThisopeningAdagiohasindeedbeenthesubjectof
muchlearneddebate,withsomewritersevendisputingwhetherMozart
actuallyhadintendedtowritesuchdissonancesinthewayhedid.Haydns
ownsoundjudgementofthepassagewasthat,ofcourse,hedid.Ittakes
many bars of unsettling harmonic shifting around before a sunny
resolutionmovesforwardandintoamoreconventionalandjollyCmajor
Allegro.

The ensuing second movement Andante is founded on a mellow and

typicallyMozartianmelody,emotionallyfullwhilststillrelativelysimplein
its construction. This is followed by a lighthearted, sturdy Minuet and
Allegro,whichchangesmoodwithMozartsusualmercurialregularity.The
final movement, an Allegro, lively and energetic, again uses unsettling
chromatic snatches, and eventually closes with trills on all four
instruments, bringing the listener to the closing and strong C major
cadenceswithadramaticflourish,whichmusthavebeenarelieftomany
ofMozartslistenersatthetimethesequartetswerefirstplayedinpublic,
satisfyingly contrasting with the dissonances of the first movement and
bringingboththisquartetandtheseriestoacloseinthatmostpositiveof
allkeys.

The ordinary eighteenth century listeners to this music must have been
perplexed by its variety, richness and highly sophisticated harmonic
language, which was well ahead of its time. There are contemporary
reviewswhichdoshowthattherewasavariedresponsetothesequartets:
ranging from Haydns heartfelt praise, to some rather perplexed words
writtenin1787:hisnewQuartetswhichhededicatedtoHaydn,may

95010MozartCompleteEdition
33


wellbecalledtoohighlyseasoned,andwhosepalatecantoleratethisfor
long? As with some audiences of all forwardlooking composers both
todayandinthepast,manyofMozartscontemporarieswerenotreadyto
understandthedepthandqualityofwhattheywerehearing.
Dr.DavidDoughty

STRINGQUARTETSK499&K575(CD80)
In 1786, the Marriage of Figaro was first performed in Prague, where
MozartwasmuchmorecelebratedthaninhischosenhomecityofVienna.
HisfatherLeopoldwasdelightedtowitnessthequalityofthisopera,and
thrilled by the success it brought his son. During the previous few years,
Leopold had disapproved of Mozarts life style, and his marriage to
Constanze, but Mozart dearly loved his father, and the real affection
between them never waned. Mozarts rich spiritual life and mature
philosophy of the brotherhood of man gained or cemented through his
membershipofFreemasonry,waspartlyduetothecontemporarythinking
inVienna,butsurelymuchofthismusthavebeenduetotheupbringinghe
had.TherehadalwaysbeenasenseoffunintheMozarthousehold,but
alsoagreatdrivetobeonesbest,andtolooktothehigherthingsinlife.

InspiteofthegreatsuccessofFigaro,Mozartsfinanceswerenothealthy.
Thecomposerwouldhavejustbeenpaidforthecomposition,andinthose
daystherewerenoroyalties,sonomatterhowsuccessfulapiecewas,and
how often it was performed, the composer did not benefit financially to
anygreatextent.But,Mozartwasinhiscreativeprime,andcontinuedto
compose numerous works, constantly refining and developing his ideas.
Mozarts life, reflected so well in his music, was one of fascinating
contrasts:hecouldbefrivolousandsparklingasdemonstratedinthemany
letterstohissisterandhiswife.Constanzewasnointellectual,butthisdid
not seem to put a strain on their emotional relationship: she was a
companionfulloffun,whocouldlaughwithhim,andentertainhiminthe
bedroom.Mozartwasamanofparadoxeswhicharefullyembodiedinall
his compositions. The apparent transparency of some of his works belies
the depth of feelingunderneath, but occasionally the real passionsurges
tothesurface,leavingthelistenerinnodoubtthatMozarthadagreatand
noblemind.

The Hoffmeister String Quartet,K 499,waswritten in 1786, apparently

to pay a debt Mozart owed to Franz Anton Hoffmeister. He was a well
knowmusicpublisherandcomposerinVienna.Hoffmeisterpublishedhis
ownworksaswellasthosebyMozart,Haydn,ClementiandPleyel.Infour
movements,Allegretto,MenuettoAllegretto,Adagio,Allegro,thisquartet
seems to encompass everything Mozart had learned from writing the
previoussetofHaydnquartets.TheopeningAllegrettomovementuses
dialogue between instruments, often in pairs. Here, the mood is mature
andconfident.Themasteryoftheformisevident,andMozartusesdaring
innovations such as a canonic imitation during the Minuet. The Adagio is
one of Mozarts most heartfelt and beautiful; the emotional intensity of
thefirstviolinsoaringabovetheotherinstrumentsislikeoneofthebleak
arias of the Countess in Figaro, full of love and warmth, but with an
underlyinglonelinessandpersonalinsecurity.ButMozartneverdwellsfor
toolongonthedarkersideoflife,andthefinalAllegromovementreturns
tohislighthearted,spontaneousfaade.

TheKingofPrussia,FriedrichWilhelmII,wasagoodamateurcellist,andit
istohimthatMozartsnextthreestringquartetsarededicated.Thecello
plays a prominent part in these three quartets, with some innovative
techniques, which may have stretched the royal cellist a little! The
composition of this set was begun against the backdrop of the French
Revolution in 1789, and the Duport brothers, both wellknown musicians
had escaped France to settle in Berlin.Mozart knew the elder of the two
brotherswell,andsowassurelyawareofthetreatiseonthecellobyhis
youngerbrother,whichhehadbeenwritingforaconsiderableperiod,but
wasfinallypublishedin1813.Thiswasdevotedtotheuseoffingeringand
bowingonthecello,sowouldhavehadsomeinfluenceinthewayMozart
wroteforthecellointhesePrussianstringquartets.

InK575,althoughthecelloisgivenaprominentrole,itneverupsetsthe
balance between the instruments: Mozart handles this challenge with
mastery and refinement, lightening the texture throughout. The final

movementcontainsanelegantcellomelody,withsomeflourishes,butitis
never allowed to dominate, so Mozart pays dignified tribute to his royal
patron,withouteverbeingsycophantic.
Dr.DavidDoughty

STRINGQUARTETSK589,K590&K80(CD81)
MozarthadbegunthecompositionofthethreePrussianstringquartets,
dedicated to Friedrich Wilhelm II, King of Prussia, in 1789, but the
completion of the last two quartets was delayed to 1790. This was for
several reasons: Mozart had his habitual string quartet compositional
difficulty, which he had also experienced whilst writing the Haydn
quartets. He called this a troublesome task. In addition to the creative
concerns, there were some practical ones: in the intervening period,
MozartwasworkingonCosifanTutte.

From about 1788 onwards, Mozart had been beset with financial
difficulties,tothepointwherehewrotebeggingletterstohisfriends,who,
althoughgenerousintheirsupport,couldnotentirelyfundthecomposers
life style. Mozarts productivity was affected by worry, and his major
creativeoutputstartedtodeclineinquantity,ifnotinquality.Constanzes
continuingillhealthaddedtothefinancialburden,withdoctorsbillsand
visitstoSpastobepaidfor.However,hewasgiven100FriedrichsdOrfor
the Prussian quartets in Berlin, and with that came an offer of a post,
whichMozartdeclined,itissaidoutofloyaltytotheViennese.Inspiteof
all these difficulties, Mozart continued to innovate and to challenge
musicalboundaries.ThequartetsK589andK590,whilststillformingpart
of the three Prussian quartets, had a less prominent part for the cello
thantheirpredecessor,K575.

The four movements of K589, Allegro, Larghetto, MenuettoModerato,

Allegro Assai, challenge the balance between movements: the Minuet is
thelongestmovement,whilstthefinalAllegroAssaiisveryshort.Againin
thisquartet,Mozartusescounterpointtothefull.Thesecondmovement,
the Larghetto is beautifully proportioned, gentle and elegant, with its
exquisitemelodybeingmostlyontheviolin.TheMenuettoModeratohas
none of the dancelike predictability of Mozarts early minuets: it is
recognisably in a triple time, but is full of motives and ideas playfully
tossedbetweentheinstruments.ThefinalAllegroAssaiisabright,bouncy
movement with reminiscences of the opening of the Hunt quartet, and
confidentlyfinishesoffthisquartetinonly155bars.

K 590, the last of Mozarts quartets, shows that he had completely

mastered a form which he had seemed to struggle with: its drama is
immediatelyobviousintheopeningbars,confidentandcommandingwith
simple, unison arpeggios. Soon, the listener is entertained by the cellos
starringroleatributetoFriedrichWilhelmII,himselfanamateurcellist.
The second movement, Allegretto is an almost operatic melody with
variationslikesomeofthecoloraturaariasfromMozartsoperas.Thereis,
belowthemaskofwarmth,aslightmelancholy.TheMinuetisnotoneof
Mozartsbright,childlikeones,ittoobearsdarkundertones.However,in
the final Allegro movement, the happy mask is firmly back in place, and
Mozartdelightswiththeexuberanceofthewriting,butbeneaththereisa
tensionandMozartinterruptsthebright,coloraturawritingwithinsistent
semiquaver figures and abrupt chords. Very little is known about the
reasontowriteastringquartetin1770,inLodi,onhiswayfromMilanto
Bologna,butweMozartnotedinhistitle:AtLodi.1770.15thMarchat7
in the evening. This first quartet, K 80 was originally written in three
movements (Adagio, Allegro, Menuetto), but a fourth (Rondeau) was
addedsomefouryearslater.TheRondeaushowshowMozartsstylehad
matured in the intervening years. The opening Adagio has an expansive
almostoperaticmelody,andalthoughthetextureoftheensembleisfairly
immature,agiftforlyricalwritingisunmistakable.Incontrast,theAllegro
is spirited, with some declamatory fanfares in unison, interspersed with
fastpassages,andsyncopations,allshowingcreativeexplorationofideas.
The Menuetto is rather mundane, but nonetheless graceful with its
harmonicmodulations.Inthefourthmovementthemature(eighteenyear
old) Mozart is in command of his forces and more comfortable with the
interplay between instruments, adventurous harmonies and varying
textures.

95010MozartCompleteEdition
34


ItisworthdwellingonthelegacythatMozartlefttheworldwithhisstring
quartets. He himself played both violin and viola in chamber music, the
most intimate musical expression between fellow spirits. Perhaps in the
chambermusicaboveall,isfoundtherealMozart:thelongdevelopment
of the quartets from the early K80, written when he was fourteen, to K
590, written in the year before he died, display the internal workings of
Mozartsgenius.Hestruggledwiththeircomposition,unlikewithhisother
works, where he wrote them down almost straight off. He dazzles the
listenerandplayeralikewiththesheerinventivenessofthecompositions.
Mozartminedeveryaspectofthestringquartetsforeverylastnuggetof
inventiveness. There are variations on melodies, canonic imitation, fugal
writing, different textures, operatic arias, stagy dramatic chords. In
addition to this, Mozart was aware of the technical aspects of the
instrumentshewaswritingfor.Helovedtochallengetheplayeraswellas
thelistener,pushingeverythingtoitsartisticextreme,writinginwaysthat
were often extremely forward looking, but he did this seamlessly,
incorporatingthemusicaltraditionshewasborninto.

Mozart applied for the post of Kapellmeister at the court of the new
EmperorLeopoldIIinVienna,butwasrefused,althoughhewasgiventhe
post of assistant in May 1791, with the right of succession to the
Kapellmeister post when if fell vacant. However, the assistants post was
withoutpay,andbeforetheKapellmeisterpostwasavailable,Mozartwas
dead.
Dr.DavidDoughty

PIANOSONATAS15(CD82)
PianoSonataNo.1inCMajorK279
Mozart wrote this first real sonata when he was 19 years old during his
concert tour to Italy, while he was working on the composition of the
operaLafintagiardiniera.Thestyleofthesonatadrawselementsfrom
different musical sources. The first movement is strongly rooted in the
classical style with baroque elements, the slow movement has a singing
italianatecharacter,andPapaHaydnispeepingaroundthe cornerinthe
wittyfinale.AllthreemovementsareinSonataform.Thepianowritingis
verypianistic,anddemandsgreatdexterityandevenvirtuosityfromthe
player.IntherecapitulationofthefirstmovementMozartdoesnotsimply
repeattheexpositionbutisconstantlyinventingsurprisingturnsofmelody
and harmony, in an almost improvisatory way. The second movement is
unique with its arialike melody, and free flow of ideas, evoking a sweet,
dolce,mood.Thefinalebrimswithvitalityandgoodhumor,spicedwith
almostburlesqueelements.

PianoSonataNo.2inFmajorK280
ThissonataismodelledonasonataofHaydninthesamekey,whichhad
appearedsometimeearlier.BothslowmovementsofthesonatasareinF
minorandaremarkedAdagio,andbothareintheSicilianorhythm.The
principaltheme,consistingofseveralcontrastingmotives,isfollowedbya
subject in triplets, containing some interesting chromatic episodes. The
movement abounds in playful scales and runs, giving the player ample
opportunity to exhibit his virtuosity. The slow movement is a miracle of
concentrationandexpressionoffeeling.Theprofundity,theexpressionof
pain and anguish, foreshadows the later Mozart in his great dramatic
minor key works. The Finale clears all dark clouds, and is a feast of
surprises,jokesandSpielfreude.

PianoSonataNo.3inBflatmajorK281
In the first movement Mozart fully explores the tonal resources of the
instrument,lettingitsoundinrichchordsandvibratingaccompaniments.
The movement abounds in free improvisatory development and rich
variation of the lyrical main theme. The slow movement is a perfect
example of the gallant style. The amoroso character of the music
demands a graceful execution, never yielding to explicit sentimentality.
The third movement is called Rondeau, and is based on a theme in
Gavotte style. The music, although refined after the French style, also
containsunexpecteddramaticpassagesinminorkeys.

PianoSonataNo.4inEflatmajorK282
This sonata unexpectedly begins with a slow movement, followed by a
minuet,andendswithanallegromovement.TheextraordinaryAdagiois
full of lyricism and quietly flowing cantilenas. The second movement

consists of two minuets, both in simple, folklike language. The last

movementisreminiscentofHaydnandconcludesthesonatainagayand
carefreemood.

PianoSonataNo.5inGmajorK283
ThissonatainGmajor(theonlyoneinthiskey)isfulloflight,gaietyand
songlike phrases, and reminds one of the sonatas of Johann Christian
Bach, who was an important model for the young Mozart. The italian
character of the music is clearly shown already in the first movement,
where even in the development section, usually of dramatic character,
there is not a traceof struggle, all minor key feelings being avoided. The
slow movement bring an innocent feeling of happiness, which is clouded
over in the middle section, where the theme appears in A minor. The
recapitulationbringsreliefandflowsoninradiantcantilenas.

The last movement is a sparkling Presto, bearing a close resemblance to

thefinaleofthepianosonataNo.2,alsoin3/8measure,andbreathingthe
spiritoftheOperaBuffa.

PIANOSONATAS68(CD83)
PianoSonataNo.6inDmajorK284
Mozart wrote this sonata in 1775, when it was commissioned by Baron
ThaddusvonDrnitz.Thestyleofthefirstmovementisbold,daringand
spectacular, brilliantly written for the piano, using pianistic effects like
hand crossing and tremolo. It contains influences from the Mannheim
style,whereastherichsinginglineshaveanItaliancharacter.Thesecond
movement is a Rondeau en Polonaise, a wonderfully orchestrated
dancelikepiece,whereMozartgiveshisimaginationandfancyfullreign.
The third movement is a set of variations on a theme with a Gavotte
character.Thisbeautifulsetofvariationsnotmerelyoffersanembellished
versionoftheoriginaltheme,butisconstantlychangingthe characterof
thetheme,frompeacefullydreamingtojoyfullygallopping.Mozartskilfully
explores all the pianistic resources of the time, using passages in parallel
thirds,octaves,handcrossing,andtrills.

PianoSonataNo.7inCmajorK309
Mozart composed this sonata for Rosa Cannabich, daughter of the well
known composer of that time, who was an admirable player. The first
movement opens with a powerful unison theme, followed by a graceful
melody,bringingimmediatecontrastinthefirstsubject.Thesecondtheme
appears further on, and provides a charming and delightful ease. The
developmentfollowstherulesofthesonataformbypresentingthetheme
in different keys, also in dark minor colours. The slow movement gives a
musicalpictureofRosaCannabich,ofwhomMozarthadahighopinion(he
describesherashighlyintelligent,kindandamiable).Themusicisaseries
of variations on a theme of great intimacy, evoking a sense of simplicity
and lightness. Noteworthy are the many detailed performance marks,
which should be strictly observed, according to Mozart. In the final
Rondeau Mozart introduces orchestral effects reminiscent of the
Mannheim Schule. The writing is of virtuoso and brilliant standard. The
pieceendssurprisinglywithapianissimocoda.

PianoSonataNo.8inAminorK310
Thebackgroundtothistragicminorkeysonataistheunexpecteddeathof
Mozartsmother,whilehewasgivingconcertsinParisin1778.Theworkis
ofanunusualdramaticcharacter,andistheexpressionofdeeppersonal
feelings.Thefirstmovementsprincipaltheme,markedMaestoso,begins
withadissonantappoggiatura.Thedottedrhythmofthethemedominates
the whole movement with an almost obsessive pressure. The second
themeisinCmajor,buttheunderlyingtensionalsocastsashadowonthis
episode,especiallywhenitresolvesintominorintherecapitulation.Inthe
developmentsectionthedottedrhythmragesfuriouslyinbothfortissimo
and pianissimo, and creates an almost unbearable tension. The second
movementisanAndante,markedCantabileconespressione.Themany
execution marks relating to phrasing, articulation and dynamics give a
goodinsightinMozartsperformancepractice.Thearialikefirstsectionis
interruptedbyadramaticmiddlesectionintheminorkey,wherethebass
ismakingboldgesturesunderafranticallyleapingaccompanimentinthe
righthand.Thethirdmovementbringsnoconsolationorsmilingfaces.Itis
a restless Presto, in which the music breathlessly chases a phantom. The

95010MozartCompleteEdition
35


middlesection,inthecharacterofamusette,givesaglimpseofabetter
world,butimmediatelythefirstthemetakesitscourseagain,andcomes
toaviolentendintheminorkey.

PIANOSONATAS911(CD84)
PianoSonataNo.9inDmajorK311
From1777to1778MozartmadeaMannheimParisjourney,whichplayed
an important role in his career. During the journey three piano sonatas
were composed, one of which is this sonata in D major. He wrote the
sonata for Josepha, the pretty daughter of Court Counsillor Freysinger (a
formerschoolfriendofMozartsfatherLeopold).Themusicisfilledwitha
light and playful spirit, and still shows influences from the Mannheim
School. One example of this is found in the closing Rondeau, where a
Cadenzaisinsertedbeforethemainthemeappearsagain,atechniqueonly
used in a piano concerto. This proves that Mozart wanted toenlarge the
structureofthesimplepianosonata,introducingconcertolikeelements.
Thefirstmovementisanallegroconspirito.Thegentlesecondsubjectis
enriched by beautiful counterpoint in the left hand. The development
makes clever use of the Mannheim sigh motive, a descending second,
which was introduced as a little coda to the exposition. The songlike
secondmovementcontainssomemovingmelodicepisodes,andendswith
a richly accompanied coda, evoking a feeling of sweet nostalgia. The
Rondeauisarealconcertpiece,withflourishingcascadesofscales,its6/8
timeplayfullydancingtowardsaneffectfulend.

PianoSonataNo.10inCmajorK330
The enchanting simplicity of the opening theme is the starting point of a
wonderfulmovementinwhichsimplescalesandbrokenchordsturninto
puremusicofsublimebeauty.InthedevelopmentMozartappliesrichand
manifold thematic material expressing emotion and unrest by using
frequent syncopation and sigh motives. Mozarts marking dolce is
significant in the execution of the slow movement, which is in ternary
form.Thegentle,flowingatmosphereofthebeginningiscloudedoverby
thedarkermoodofthemiddlesection,intheminorkey.Thereappearance
ofthefirstmelodycomesthenasarayofsunlight.Thejoyfulrondoisin
rondosonata form.The music brims over withwitty themesand brilliant
virtuosity,remindingoneofagayscenefromoneofhisoperas.

PianoSonataNo.11inAmajorK331
This piano sonata is one of the most frequently performed sonatas of
Mozart.Itisprobablethatitwascreatedaround1783whenMozartwas
working on his opera Die Entfhrung aus dem Serail. Supporting this
reason is the appearance of Turkish elements in both the opera and the
sonata. Mozart did not miss the popularity of exotic Turkish music in
Viennathosedays,andintroducedsuchelementsnotonlyinhisoperabut
also in his piano music, hoping for better sales of his music. The Turkish
marchisnottheonlyuniquefeatureofthesonata.Unusualisalsothefirst
movement,beingasetofvariations,andtheMinuetinplaceoftheslow
movement.Infactnoneofthemovementsisinsonataform.Thesonata
does not require bravura technique to play, and it seems that Mozart
composed thisworkbearing Viennese amateur pianists in mind. The first
movement,andantegrazioso,isasetofvariationsonabeautifulthemein
Amajor.Thegentlyrockingmelodydevelopsintosixvariationsofdifferent
character:playful,dark,peacefulandbristling.Thesecondmovementisa
minuet.Thewritingandstructureofthepieceisafarcryfromthesimple
minuetsusedinotherworks.Thereiscomplexcounterpointandaudacious
harmony employed, which, combined with the irregularity of phrase
construction, makes this one of the most original minuets Mozart wrote.
ThethirdmovementisthewellknownMarciaallaTurca,inABCBAB
Codaform.TheBpartshowtheTurkisheffects:festivedrumsandcymbals
soundonthepiano,evokingajoyfulmarchparade.

PIANOSONATAS1214(CD85)
PianoSonataNo.12inFmajorK332
In 1781 Mozart, at the age of 25, moved from Salzburg to Vienna and
startedhismaturecreativeactivities.Thisisoneofhissonataswhichare
presumedtohavebeencomposedbetween1781and1783,hisfirstyears
in Vienna. The pleasant first subject, a graceful melody in 3/4 time, is
followed by sudden Mannheim rockets, upwardly surging figurations.

The innocent second subject in C major seems to try to calm down the
disturbance. The development does not offer dramatic struggles, but
gently introduces the second subject again, and after a building up of
tension the soothing first melody sets everything apeace. The beautiful
slow movement, with its tender arialike melody, lacks a more dramatic
middlesection,soasnottodisturbtheatmosphereofpeacefulquietness
and unclouded beauty of sound. The finale presents a whirlwind of
sixteenthnotesin6/8time.Itpresentsafinedisplayofvirtuosity,andits
exhilarating momentum never fails to make a deep impression on the
audience.

PianoSonataNo.13inBflatmajorK333
Mozartwrotethissonatainthesummerof1778,duringhisstayinParis.
Its close resemblance to the sonatas of Johann Christian Bach is further
explained by the fact that he was also staying in Paris at that time. Both
composershadfrequentcontactandhadgreatrespectforeachother.In
thefirstmovementthemusicflowssmoothlywithanamiablesmileandan
Italiangrace.Yetthepartwritingandthedarkershadowssometimescast
onthesunnylandscapeunmistakablybearstampofMozartsgenius.The
slow movement reveals intimate and deep feelings, as often heard in
Mozarts works in E flat major. In the development the fragmented first
subject is loaded with a brooding, even menacing tension, which keeps
hanging as a cloud over the movement until the very end. The third
movement,allegrettograzioso,isarondowhichhasevidentconcertolike
episodes,notablythealternationsofsoloandtutti,andthefullscale
cadenzaattheend,concludingthisdelightfulsonata.

PianoSonataNo.14inCminorK457
ThisPianoSonatawaswrittenin1784,theonlysonataintheminorkey,
togetherwiththeAminorK310.TheworkisoneofMozartsdarkestand
gloomiestcreations,fullofanguish,dramaandgrief.Thepianowritingisof
high calibre, calling for virtuoso powers, and already foreshadows the
pianoworksofBeethoven.Aboldsubjectinparalleloctavesintheminor
key sets the tone and atmosphere. No smiling and flowing italianate
melodies here, but tight, grim structures, moving on in inexorable pace.
ThesecondsubjectisinEflatmajor,whichistransformedintoCminorin
the recapitulation, the minor version having a totally new strength and
tension. The development rages towards a climax, and the recapitulation
brings no relief, the coda ending into a dark abyss of C minor. The slow
movementisarichlyembellishedcantilena,wanderingoffindistantkeys.
Itgivestheplayertheopportunitytogivehisownimaginationfreereign,a
practice which is customary in the piano concertos. The last movement
presents a syncopated first subject of restless and breathless character,
followed by a violent outcry of repeated octaves and leaps, which
mercilessly recurs several times. The tight and concise character of the
music makes it all the more dramatic and effective. The coda introduces
still a new element which brings this extraordinary sonata to a violent
close.

PIANOSONATAS1518(CD86)
PianoSonataNo.15inFmajorK533
Themovementsofthissonatawerecomposedseparately,andwerelater
combinedintowhatisnowregardedasonesonata.Thewritingofthefirst
movement is daring, using many contrapuntal devices (canon, imitation),
andextensiveharmonicdigressionsintofarawayminorkeys.Itrecallsthe
works of Bach and Handel, whose compositions Mozart had studied
closely. The coda shows some extraordinary chromatic shifts, before
closingwithflourishingtripletruns.Theslowmovementisinsonataform.
It presents some of the most original music of Mozart, showing in the
asymmetrical phrase structures and the strange harmonic development,
which must have sound oddly dissonant to contemporary ears. The third
movement, marked Allegretto, eases the tension of the two preceding
movements,andisapleasantRondeau,inwhichthethemeisdifferently
ornamentedeachtimeitreappears.Theminorepisodeagainshowsclever
counterpoint.Askilful,cadenzalikepilingupofthethemeisfollowedby
the recurrence of the theme in the bass, and the movement ends
peacefully.

PianoSonataNo.16inCmajorK545
This sonata, composed in 1788, bears the subtitle Little Sonata for
beginners.TodayitisknownasSonatefacile,andispopularwithpiano

95010MozartCompleteEdition
36


amateurs,oftenbeingthefirstmusicofMozarttodigest(butitneedsalot
of chewing...). The structure of the first movement is of notebook
discipline. It starts with a singing principal theme, folowed by running
scales. The recapitulation is the standard repeat of the exposition. The
slow movement is touching in its simplicity, and through very modest
means is still able to build up a moving climax. The theme of the short
Rondoisreminiscentofthecuckooscall.

PianoSonataNo.17inBflatmajorK570
It was not until after this sonata was written in Vienna in 1789 that the
style known as that of Mozarts last years became apparent in his piano
sonatas.Thereisnotraceofsplendourandrichlysingingcantilenas,asin
theBflatmajorK333,orthetragicandovertlydramatictensionsoftheC
minorK457sonatas.Thelanguageofthissonataissimpleandclearwitha
deep inner meaning, nothing is superfluous or brilliant for its own sake.
Themusicisnotcomposedfortheconcerthalltodazzletheaudience.The
firstmovementbeginswithacalmthemeinunisonotriads,followedbya
some conventional musical patterns. Two sudden chords introduce the
singingsecondthemeinEflatmajor.Therecapitulationisalmostidentical
to the exposition. The Adagio is reminiscent of an ensemble of wind
instruments, notably the first bars horn call. The profound, almost
processional development of the music is interrupted by an episode in C
minor, introducing gentle sigh motives. In the middle a new theme
appears,singinginnocentlyinAflatmajor.Thecheerfulandliltingtheme
of the rondo appears only twice, the middle section introducing a gay
episodeinstaccatorepeatingnotes,whichcouldhavewalkedstraightout
ofDieZauberflte.

PianoSonataNo.18inDmajorK576
Mozartplayedthissonata,whichprovedtobehislastone,inBerlinbefore
the King of Prussia Frederick William II, in 1789. The King commissioned
himtowritesomestringquartetsandpianosonatasofalightcharacter.
Mozartonlycompleted3stringquartetsandonepianosonata,thissonata
in D major. It is far from being light, indeed the baroquelike
counterpointmakesthisoneofthemostdifficultsonatastoperform.The
Huntfanfareofthefirstthemeisusedinthedevelopmentinfugatolike
episodes. The Adagio in A major exudes intimacy. The richly ornamented
flow of melody and the strong underlying tensions of the music are
characteristicforthelateMozart.Thelastmovement,markedAllegretto,
is a fine specimen of Mozarts SonataRondos. The skilful contrapuntal
devices and the virtuosic fingerwork make it a worthy conclusion to this
ambitioussonata.

VARIATIONSVOL.I(CD87)
Intotal,Mozartcomposedsomefifteenvariationsetsforpianofortesolo,
dating from all stages of his career.Most of these works were occasional
pieces.Mozart often choose folksonglike tunes or popular themes from
wellknownoperas,writingdecorativevariationsandcompletingasetwith
a brilliant, improvisatory coda. Three of the sets on this disc date from
MozartsstayinParisin1778,wheretheyoungcomposerhopedtofinda
position.Hewashoweververydisappointedandhislettersprovethathe
despisedFrenchtaste,althoughhewasreadytoadapttoittoaccomodate
those who commissioned works. In Paris Mozart undertook a little
teaching,buthispupilswerelittletallented.Itissafetoassumethatthe
variationsetsfromthisperiodwereinparttheoutcomeofhiseducational
activities.

An attractive variation set of this period is Twelve Variations on Je suis

Lindor,K.354,writtenonanairfromthe1775operaLebarbierdeSville
by the little known French composer Antoine Laurent Baudron (1742
1834).Thethemeisextremelysimple,itistheeasygoingmelodicflowof
Frenchcomicoperettas.Theregularpatternwithafirstsectionofeighth
and a second section of fourteen bars, both repeated, is throughout
maintained by Mozart, except for the dramatic final variations. The
recitativelike Molto adagio of No. 12 is a marked apotheosis. Another
highlightisvariationNo.9,inasombreEflatMinor.Theclosingvariationis
arepriseofthejollytheme.

AlsoofaParisoriginaretheNineVariationsontheariettaLisondormait
dansunbocage,K.264.HereMozartchoosesanextremelypopulartheme

that was much varied and parodized by other composers as well. It

originated from the little opera Julie by the French composer Nicolas
Dezde in 1772. Its premiere at the Thtre Italien was met with much
succes. Mozart may have known Dzde personally, although there is no
proof. Also from Dezde is the famous theme of Ah, vous diraisje,
Maman?,usedbyMozartinanotherset(K.265).Juliewasperformedon
28August1778.ThereisonlylittledoubtthatMozartwrotehisvariation
set after having attended this performance. Most fascinating of the
variations is the Adagio towards the end and the exhuberant coda that
followsit.

ForhisTwelveVariationsonLabelleFranoise,K.353,Mozartchoosea
themeofunknownorigin.Theeasygoing,almostchildlikecharacter,ina
flowing6/8meter,suggestsatraditionalfolksong,butitmayalsooriginate
from a less know French opra comique. The set is little demanding and
Mozartmaywellhavewrittenitforhislittleadvancedyoungpianopupils.
Artaria & Co. published it in 1786 to ease Mozarts serious financial
difficulties.

The same house issued in 1786 Mozarts delightful Eight Variations on a

themefromDieudamour,K.352.Here,Mozartselectedthechoirmarch
fromAndrGrtrysLesMariagessamnites,composedasearlyas1768but
revised and newly presented on stage in 1776. The set was composed in
June 1781, shortly before Mozart commenced his opera Die Entfhrung
ausdemSerail.ThemanycontrapuntalsuggestionsgiveproofofMozarts
concernwithpolyphonyinthisperiod.

Also derived from a solemn choir is the theme of the Six Variations on
Salve tu, Domine, K. 398, taken from the opera I filosofi immaginarii by
Giovanni Paisiello. This seemes to have been a favorite to Mozart, who
improvised on the theme in public on a concert on 23 March 1783, the
same year of the variations. The work, then, may be considered as the
frozen moment of Mozart as a goodhumoured improvisor.The theme is
varied in a variety of styles, comprising triad scales, vritosic cadences,
expressiveslowintermezziandasubtlefugato.Astructuralelementinthis
setistheeffectiveuseofritardando,whichcreatestension.Aminormode
variationformstheintroductiontoafreefantasyinthestyleofaclosing
cadence.
JosvanderZanden

VARIATIONSVOL.II(CD88)
In total, Mozart composed some fifteen sets of variations for pianoforte
solo, dating from all stages of his career. Most of these works were
occasional pieces. Mozart often choose folksonglike tunes or popular
themes from well known operas for decorative variations, completing a
variationsetwithabrilliant,improvisatorycoda.

The five sets on this compact disc all date from Mozarts years in Vienna
andrepresentMozartatthepeakofhiscareerasacomposerandpianist.
Duringtheseyearshecontinuedteachinganditissafetoassumethatthe
variation sets were partly the outcome of his educational activities.
Nevertheless,thesearehighlypersonalworksthatcarrythevariationform
far beyond the domestic context. All sets are characterized by a lively
interchange between right and left hands, contrapuntal thinking, bold
appoggiaturasandafreeuseofdischord.

In1784MozartwrotehisTenVariationsonUnserdummerPbelmeint,
K.455.ThemerrythemewasderivedfromanoperabyChristophWillibald
vonGluck,whostagedhisLarencontreimprvuasearlyas1764;forlater
productionsinViennaaGermanadaptationwasmade,entitledDiePilger
vonMekka.Thisoperawaswidelypopularandsomeofthemelodieshad
somuchattractionthattheywereliftedformtheircontext.WheninMarch
1784 Gluck attended one of his public concerts, Mozart choose to
improviseonUnserdummerPbelmeintasatokenofhisrespectforhis
Italian colleague. The result of this was his variation set, although the
autographbearsthedateof25August1784.Allvariationsmaybelabelled
decorative, except for the two last cadential ones. No. 10 has some
intriguinglyremotemodulations.ItisnotknownwhereMozartfoundthe
theme of his Twelve Variations on an Allegretto, K. 500. He may have
composedithimselfin1786,whenHoffmeisterpublishedtheset.Itmay

95010MozartCompleteEdition
37


becircumstantialevidencethat,comparedtoothervariationthemes,the
melody is slightly more sophisticated, with four opening trills in the right
hand. The set as a whole is unified, with increasing rythmic density and
subtle interconnections. Highly original is variation No. 10, with playful
changes of register and a closing cadenza that leads directly to the
expressiveAdagioofNo.11.Asofteninsetslikethese,Mozartroundsoff
thecyclebycitingthetheme.

In the financially devastating year 1789 Mozart accompanied Count Karl

Lichnovsky on a trip to Berlin, where Mozart hoped to play for king
Friedrich Wilhelm II. Knowing that the king preferred the music of Jean
PierreDuport,directorofhisroyalchapel,MozartselectedaMinuetfrom
thelatterforasetofvariations.ThisresultedintheNineVariationsona
Minuet of Duport, K. 573, one of Mozarts finest works in this specimen.
The work opens with five figurative variations, followed by dramatic
minoreinwhichheexpandstheregistrallimits.VariationNo.7reinstates
theatmosphereofpleasantness,whichhoweverisoncemoreattackedby
areflectiveAdagio.Onlyinthefinalethejoyouscharacterofthethemeis
reaffirmed.AdacapoofDuportsthemeisanexclamationmark.

The Eight Variations on the theme Ein Weib ist das herrlichste Ding, K.
613datefromMozartsfinalyear,1791.Thelongtheme,withsixcurious
introductary bars, was taken from a frivolous little opera named Der
dummeGrtner,withmusicbyacertainBenediktSchacks.ItwasEmanuel
Schikaneder who staged this work and Mozart probably learned of the
themethroughhim.Itsenormouspopularitypromptedhimtocomposea
variation set that betrayes the somewhat solemn atmosphere of Die
Zauberflte. Some of the variations are strikingly original, such as No. 6,
whichischaracterizedbysyncopatedtexturesandchromaticism,andNo.
7, with strong arioso elements. The daring coda is full of harmonic
surprises.

The last work, Six Variations for piano, K. Anh. B 137 is apocryph. It was
fraudulously published under Mozarts name by the Vienna publisher
Artaria in 1802, shortly after the posthumous publication of Mozarts
ClarinetQuintetK.581(1789)byAndrinOffenbach.TheVariationswere
anadaptationforpiano(theoriginaltitlesayspourClavecin)ofthefinale
ofthiswork,theAllegrettoconVariazioni.Inmanyrespectstheanonimous
arrangermadeconsiderablechangesinMozartsoriginaltext.
JosvanderZanden

VARIATIONSVOL.III(CD89)
In total, Mozart composed some fifteen sets of variations for pianoforte
solo, dating from all stages of his career. Most of these works were
occasional pieces. Mozart often choose folksonglike tunes or popular
themes from well known operas for decorative variations, completing a
variationsetwithabrilliant,improvisatorycoda.

OneoftheearliestsetswaswritteninHolland,whenMozartwasonlynine
years old. The Mozart family was present in The Hague where the Dutch
Stadhouder, William V, was installed, in March 1766.Mozart, on his
fathers wish, contributed to the festivities by composing several works,
suchasSevenVariationsonthesongWillemvanNassau,K.25.Thissong,
ofcourse,wasimmensepopularatthetimeanditwasheardatpractically
every streetcorner.Mozart also used it in the finale of his Galimathias
musicum(K.32),apotpourrialsocomposedforWilliamV.FatherLeopold
Mozart, acting as an impresario, managed to get the Variation set K. 25
immediatelypublished,whenthefestivitieswerestillgoingoninHolland.
TheywereissuedbytheDutchpublisherHummel,togetherinTheHague
andinAmsterdam.

For the next set, the Six Variations on Mio caro Adone, K. 180, Mozart
choose a theme from his alleged enemy in later years, Antonio Salieri.
SalierisoperaLafieradiVeneziawasstagedinViennafrom1772onward,
andMozartmayhavevisitedaperformancewhen hewastherein1773.
Hewasnottheonlyonewholiftedtheeleganttunefromitscontextfor
variations.Othercomposersdidthesamethingandthetuneisalsocited
in a work by Joseph Haydn.Mozarts variations are extremely simple and
easygoing. This led to some criticism, for in a 1773 publication (Der
musikalischeDilettantbyaMr.vonTratter)weread:Notallvariationsare

good, even if they have been written in the strictest obedience to the
rules. The melody must never be subservient to technique. Fast loud
passages must always be interspersed with passages of a gentler, more
lyrical kind. K. 180 contrasts heavily with the Twelve Variations on a
MinuetofFischer,K.179.HerewehaveaworkthatMozartoftenplayed
himselfasashowpiece.Morethanonceitismentionedinhislettersand
Mozart also took the set with him when he set out for Paris in 1777. It
must have been composed some years earlier, though, because in 1774
MozarturgeshissisterNannerltobringhimtheFischerVariationswhen
shefollowshimtoMunich.JohannChristianFischerwasahoboist.Mozart
heardhimhimasearlyas1766inHolland,buthedidnothavehiminhigh
esteem. The Minuet was a tune from the finale of Fischers first Oboe
ConcertoinCMajor,aworkwhichisnowcompleteyforgotten.Thesimple
baroque tune is varied in a variety of textures, ranging from playful
figuration to fine contrapuntal thinking. The set culminates in an
expressiveAdagiofollowedbyarepetitionofthetheme.Perhapsthemost
wellknown of Mozarts variation cycles is the set of Twelve Variationson
theFrenchsongAh,vousdiraije,Maman,K.265.Thissetwasnotwritten
in Paris in 1778, as has long been assumed, but probably dates from
1781/82inVienna.Mozartwrotethevariations,whichareratherdifficult
to perform, for a his piano pupil Josepha von Auernhammer, whom he
describes in a letter as a horror to look at but she plays quite
delightfully. Josepha was an employee at the Vienna publishing house
Artaria,wherethesevariationswerealsopublishedin1786.Obviouslyshe
playedanimportantroleinpromotingherteachersmusic.IntheKchel
Verzeichnis,avariationsetismentionedunderK.460whichhowevermay
belabelledapocryph.

TheEightVariationsonComeunagnellbyGiuseppeSartiwerepublished
under Mozarts name in 1802 by Artaria, but there is no proof of
authenticity.Mozartenvisagedavariationset,itistrue,andamanuscript
inhishandsurviveswithsketchesfortwovariations,butasfarasweknow
he did not finish the work.Mozart held Sarti in high esteem and he liked
the opera of the melody, Fra i due litiganti il terzo gode. In spite of the
wellwritten and attractive variations, the work may not be called an
authenticMozartwork.Forthelastset,Variationsforpiano,K.Anh.B138,
alsoamanuscriptwithsketchesinMozartshandsurvives.Themovement,
however, is unfinished and part of it has been cancelled by Mozart. The
handwriting points to the year 1788 as date of origin, and the theme
seemstobeofMozartsowninvention.Possiblyheenvisagedthesetasa
movement for a sonata. The variations were published as early as 1795,
but it is not known who arranged and completed Mozarts unfinished
work.AneweditionofithasbeenissuedintheNeueMozartAusgabe.
JosvanderZanden

KLAVIERSTCKE(CD9092)
MozartsKeyboardInstruments
When Wolfgang Amadeus Mozart was born in Salzburg in 1756, the
fortepiano was far from being the most common keyboard instrument.
ThreeyearsbeforeMozartsbirth,C.P.E.Bachdescribedthesituationwell
in his Versuch ber die wahre Art das Clavier zu spielen: Amongst the
many types of keyboard instruments, some of which are not wellknown
either because of their shortcomings or because they have not yet been
introducedeverywhere,theharpsichordandtheclavichordhavemetwith
theapprovalofthemajority.Thefirstisgenerallyusedinmusicwrittenfor
severalinstrumentsandthesecondforplayingalone.Thenewfortepiano
also has many advantages when it is well and lastingly constructed,
although its use demands a specialised study that is not without its
difficulties.... The author then continues by emphasising the clavichords
expressive quality and the fact that it is on that instrument that a
performersskillscanbemostsurelyjudged.

The Florentine Bartolomeo Cristofori had first conceived the idea of his
arpicembalo che fa il piano e il forte in 1698; his instrument possessed
many qualities even in its initial form, but its first success was curiously
limited.Theinstrumentsarrivalonthescenewasundoubtedlypremature,
for its tone was less powerful than that of a harpsichord and a taste for
progressivelygraded dynamic shadings was not yet as fashionable as it
would become around the year 1750. French and especially German
instrument makers were later to become interested in this newly

95010MozartCompleteEdition
38


discoveredkeyboardinstrumenteitherthroughtheirownexperimentsor
from making their own changes to Cristoforis basic model. Jean Marius
was to submit a project for a clavecin maillets to the Acadmic des
Sciencesin1716,asaresultofwhichhegainedapatentonhisinvention
for the next twentyyears. This experiment was, however, superseded by
thevariousprojectsthatwerebeingworkeduponinGermanyatthattime.

ChristophGottliebSchrterconceivedtheideaofstrikingthestringwitha
tangentthefollowingyear,buthewasunabletocreatethelinkbetween
his concept and its realisation; this was first achieved by the instrument
maker Spth, whom we shall discuss later. The famous organbuilder
Gottfried Silbermann was also preoccupied with this matter; he had
invented the cembalo damour in 1721, an instrument which he had
derivedfromtheclavichord.Hethenbecameinterestedinthefortepiano
and, taking Cristoforis mechanism as his starting point, made several
instruments. He presented J.S.Bach withtwoof hisinstruments in 1736;
accordingtoAgricola,Bachadmiredtheinstrumentssoundingeneralbut
criticised the quality of the upper register and the keyboards difficult
action. Bach, however, had another opportunity to play Silbermanns
fortepianosin1747,whenheplayedtheinstrumentsthatFrederickIIhad
bought;onthatoccasionhewastogiveacompletelyfavourableopinion.
Evenifthebasicprincipleofthefortepianoseemedtobewellestablished
around 1750, the instrument had certainly not yet superseded the
harpsichord; its two basic types of mechanism, the Viennese and the
FrancoEnglish, still needed to undergo numerous modifications. The
harpsichord was meanwhile preparing its own defensive developments;
oneofthemostwellknownofthesewastheuseofquillscutfromleather
(oftenbuffalohide)togiveasweeterandmoreexpressivesound.Another
development was the idea of placing a cover with a Venetianblind
mechanism above the strings which, when activated by a pedal, allowed
theplayertocreatecrescendoanddiminuendoeffects,althoughthisonly
arrivedtowardstheendofthecentury.

FranzJacobSpthofRegensburgcreatedaninstrumentin1751whichwas
stillbeingmanufacturedatthebeginningofthe19thcentury;thiswasthe
Tangentenflgel.ItwaspossiblyinspiredbySchrtersearlierworkinthis
direction,theinstrumentproducingitssoundbystrikingapieceofwood
somewhatlikeaharpsichordjackagainstastringplacedatrightanglesto
it. This instrument had an individual sound, somewhere between that of
the harpsichord and the later fortepiano. The instruments basic sound
could also be changed by various pedaloperated systems to create una
cordaeffectsandbyalutestopandadamperwhichgaveittherounder
soundofthefortepiano.Theinstrumentwasofcourseabletoexecuteall
thedynamiclevelsbetweenpianoandforteastheplayerwished.

But let us now return to Salzburg and the year 1756. It is clear that the
instrumentthatMozartusedatthattimewastheharpsichord,andthatit
wouldremainsoformanyyearstocome.Childprodigieswereplayingall
over Europe at that time, but they attracted attention principally on the
harpsichord, even if there were fortepianos or other related instruments
availableforthemtoplay.LeopoldMozartwritesinalettertothefaithful
HagenauerdatedAugust1763thattheyhaveacquiredaKlavierfromStein
inAugsburg,mentioningalsothatitisagoodlittlekeyboardthatwillbe
veryusefulfordoingexercisesonduringourtrip.ItisclearthataKlavier
thatwouldbeusefulforfingerexercisesandthatisabletobetakenwith
themontheirtravelscouldonlybeaclavichord.

Wolfgang or Leopold Mozarts opinions on the various keyboard

instruments available to them are unfortunately very rare, making the
letter which Wolfgang wrote to his father from Augsburg on the 17th of
October1777averyimportantdocument.Imusttalktoyounowabout
Steinspianos.BeforeIhadseentheinstrumentsthathehasconstructed,I
preferred Spths keyboards; I now have to acknowledge that Steins are
better, for the sound is damped far more effectively.... He continues in
the rest of the letter to praise Steins painstaking and enthusiastic work.
EvenifthislettermakesitclearthatMozarthadagreatrespectforSpths
instruments, it cannot be said with any certainty whether these
instrumentswerefortepianosorTangentenflgeln,foralthoughSpthwas
undoubtedly famous for having invented the latter instrument, he also
made fortepianos. It should also be noted that from the 1780s onwards
the Viennese instrumentmaker Anton Walter was also building

instrumentsthatmetwithMozartsapproval;theinstrumentthatisnowin
theSalzburgMozarteumwasthelastinstrumentthatMozarthadusedand
wasdonatedin1856byitsinheritor,hissonKarlThomas.

MozartasOrganist
ItisstrangethatthecatalogueofMozartsworkscontainsveryfewworks
for organ, since we know that Mozart had attracted attention as an
organistmanytimes.Hehadoftenhadtheopportunityofplayingorgansin
great churches during the years when he had been taken from town to
townbyhisfather,andLeopoldMozartslettersoftenrecountthesevisits
tochurchorgangalleries.Wolfgangplayedtheorganinthechurchofthe
Holy Spirit and caused such general enthusiasm that his name was
engraved onto the instrument by order of the local Dean, so that none
might forget his feat (Heidelberg, 3 August 1763). He played on the
Kings organ, and so well did he play that here he is considered to be a
better organist than harpsichordist (London, 28 May 1764), ... and to
finish,thesonwillplaytheorgan,performinghisowncaprices,fuguesand
other pieces of most serious music (an Amsterdam concert
announcement).

It was during his second visit to Paris in the year 1778 that Mozart was
offeredthepostoforganisttotheChapelleRoyaleatVersailles;heturned
the offer down, but ironically one of the reasons for his returning to
Salzburg was that he was about to accept the position of Court Organist
thereonthe15thofJanuary1779.

KLAVIERSTCKEVOL.I(CD90)
Clavichord
AndanteCdurKlaSalzburg,beginningof1761
AllegroCdurKIbSalzburg,beginningof1761
AllegroFdurKIcSalzburg,11December1761
MenuetFdurKIdSalzburg,16December1761
MenuetGdurKleSalzburg,December1761/Jan.1762
MenuetCdurKIfSalzburg,December1761/Jan.1762
ThesepiecesprobablyhavetheiroriginintheNannerlNotenbuch;Leopold
MozarthadgivenNannerlarectangularmusicbookin1759intowhichhe
had carefully written onto the titlepage Pour le clavecin. Ce livre
appartientMademoiselleMarianneMozart,takingcaretocopyworksof
increasing difficulty by various fashionable composers into it.When
Wolfganglatercametoplaythesepiecesattheageof4,Leopoldmarked
down the date on which he first saw them. Leopold also transcribed the
firstpiecesthatyoungWolfgangwroteintothissamebook.

Harpsichord
MenuetFdurK2Salzburg,January1762
AllegroBdurK3Salzburg,4March1762
MenuetFdurK4Salzburg,11May1762
MenuetFdurK5Salzburg,5July1762
AllegroCdurK9a(5a)Salzburg,Summer1763
FromtheLondonerNotenbuchKV15London,April1764July1765

Clavichord
AllegroFdurK15a
AllegroFdurK15m
organAndanteBdurK15ii
LeopoldMozartgavehissonthismusicbookatthebeginningoftheirstay
inLondon.Wolfgangnoteddownawholeseriesofsketchesintoit,someof
which seem rather maladroit. Most of these seem to have been notated
withaneyefortheireventualperformanceaskeyboardworks,althougha
few of them resemble formal attempts at symphonic movements. This
andanteisundoubtedlyoneofthemostsuccessfulpiecesinthecollection.
It must also be said that the piece suits the organ very well, which, as
Leopold reminds us, was an instrument that Wolfgang had played in
London. I have decided that Wolfgangerl will play an organ concerto
there,asgoodameansasanyofshowingthathecanbeasEnglishasthe
Englishthemselves.(London,28July1764)

95010MozartCompleteEdition
39


Organ
KlavierstckFdurK33Zurich,October1766
MozartcomposedthislittlepieceinZurich,wheretheMozartfamilyhad
halted on their return journey to Salzburg.Mozart is recorded here as
havingplayedtheorganatBiberach,wherehefoughtamusicalduelwitha
youngorganisttwoyearshiselder,oneSixtusBachman.Wehaveallotted
thispiecetotheorganasasouvenirofthosetimeswhenMozartoccupied
theorganistsbench.

Harpsichord
MenuetCdurK61gISalzburg,1770

Organ
MoltoAllegroGdurK72aVerona,6January1770
Only 35 bars of this piece have been preserved, and we have completed
thethreelastbarsofthemiddlesection.Thesolesourceforthispieceis
the seeminglyfaithful copy of a score that had been laid on the music
standofakeyboardinstrumentinfront ofwhichMozarthadhisportrait
paintedinVeronain1770.

Harpsichord
MenuetDdurK94(73h)Bologna,August/September1770
LiketheMenuetKV122,thisisapiecethatwasclearlyintendedtohave
beenorchestrated,underwhichformitwouldcertainlyhavebeensentto
friendsinSalzburg;MozarthaddoneexactlythiswiththeMenuetKV122
and the Contredanse KV 123, these works being sent from Rome on the
14thofApril1770.

Tangentenflgel
8MenuetsK315a(315g)Salzburg,1773
Once more these are pieces that were certainly intended to have been
orchestrated; Mozart revised this group of minuets between 177980, at
whichtimehealsoaddedtheTriototheeighthminuet.Thechoiceofthe
Tangentenflgelforthesepiecesallowstheperformertovarythetimbres
ofthissuiteofdances,thismusicthatwasmadefordanceandrecreation.

Organ
FugegmollK401(375e)Salzburg,1773
ThisfugueinGminoristhemostimportantworkthatMozartwastowrite
specifically for organ with pedalboard. The eight final bars were
reconstructed by Abbot Maximilian Stadler, Mozarts wife Constanzes
spiritualadviserafterMozartsdeath.

Tangentenflgel
CapriccioCdurK395(300g)Munich,October1777
ThiscapriccioseemstohavebeenMozartsanswertothePS.thatNannerl
had added to the letter that Leopold sent to Wolfgang in Munich on the
29th of September 1777.... be so kind as to send me soon a little
preambletoCfromBflat,sothatIcanlearnitbyheart...Thispiecewas
inrealityfirstofallaPrelude(KV284a);theworkwasthencompletedand
offered to Nannerl for her birthday on the 16th of July 1778. As the
autographsuggests,wehaveoptedfortheversioninwhichtheCapricciois
playedbeforethePrelude,thelatterhavingamoreconclusiveending.

Harpsichord
SonatensatzgmollK312(189i,590d)
Thissonatamovementwascompletedintheautographmanuscriptbyan
unknown hand. The three Kchel numbers given bear witness to the
difficultyoffixinganexactcompositiondateforthepiece,anditisforthis
reason that we have allotted it to the harpsichord, the instrument still
beingverycommonattheendofthe18thcentury.Wemayaddthatthis
gave a certain commercial incentive to various music publishers of the
period, who issued many works (such as Beethovens Pathetique Sonata)
asbeingfortheharpsichordorthepianoforte!
JrmeLejeune

KLAVIERSTCKEVOL.II(CD91)
Harpsichord
PraeludiumundFugeCdurK394(383a)Vienna,April1782
TheSpringof1782wasmarkedbyMozartsdiscoveryofJohannSebastian
BachsmusicandofhisPreludesandFuguesinparticular.Mozartwroteto
hissisteronthe20thofAprilthat...Constanzewascompletelytakenwith
the fugues when she heard them. She asked me if I had written any yet,
and I said that I hadnt. She then roundly scolded me for not having
wantedtowritewhatisjustlycalledthemostartisticandmostbeautiful
kind of music.Mozart enclosed this Prelude and Fugue with the letter,
adding that he had written the Fugue first and the Prelude later; he had
intended to write six works of this type, which he was intending to have
publishedanddedicatedtoBaronVanSwieten.

Fortepiano
MarcheCdurK408/1(383e)Vienna,1782
AnotherkeyboardversionofmusicthatMozartintendedtoorchestrateat
alaterdate.

Fortepiano
FantaisiecmollK396(385f)Vienna,1782
ItappearsthatMozartbegantowritethispieceforthepiano,adaptedit
later for piano and violin, and finally left it unfinished.Maximilian Stadler
latercompletedthepiecefollowingMozartssketchesandgaveititstitle
ofFantaisie.

Fortepiano
FantasiedmollK397(385g)Vienna,1782
ThisFantasiagivesaveryclearindicationofwhatMozartsimprovisations
musthavebeenlike.Thereisnoautographmanuscriptforthepiece,and
what is more, the first (posthumous) publication of the work does not
supplythefirsttenbars.

Harpsichord
SuiteCdurK399(385i)Vienna,1782
Mozarts discovery of Bach and Handels music created a musical
atmosphere that is clearly the origin of this suite. Handels example is
clearly the dominant influence here, with the baroque style of the suite
alsosuitingtheharpsichordparticularlywell.Thesuitewasleftunfinished
byMozart,asixbarsketchforasarabandealsoremaining.

Fortepiano
SonatensatzBdurK400(372a)Vienna,1782/83
This is yet another fine sonata movement, one which has also been
completed by Maximilian Stadler. In the development section, Mozart
wrotethenamesSophieandCo(n)stanzeabovetwoverysimilarthemes;
we may well wonder how Mozart intended to convey the difference
betweenthetwosisterscharacters.

Fortepiano
MarchefunebredelSignorVienna,1784
MaestroContrapunto(453a)
MozartcopiedthislittlemarchintothemusicbookofBarbaraPloyer,one
ofhispupils.Noexplanationofthetitlecanbegiven.

Fortepiano
FantaisiecmollK475Vienna,20May1784
This piece was published in 1785 and was dedicated at that time to
MozartspupilTheresavonTrattnertogetherwiththeprecedingSonatain
thesamekey(KV457)asOpus11.

Fortepiano
RondoDdurK485Vienna,10January1786
Mozart omitted this Rondo from his own catalogue of works, although it
seemstohavebeendedicatedtoacertainCharlotte(vonWrben?).The
pieces source of inspiration is clearly drawn from C.P.E. Bachs works in
thesamegenre.
JrmeLejeune

95010MozartCompleteEdition
40


KLAVIERSTCKEVOL.III(CD92)
Fortepiano
6DeutscheTanzeK509Prague,6November1787
Le Nozze di Figarowas enjoying a triumphant success in Prague, and the
only pieces that Mozart wrote during his stay there were these German
dances.Thisversionofthedancesforkeyboarddatesfrom1790.

Fortepiano
RondoamollK511Vienna,11March1787
Theautographmanuscriptbearsthetempomarkingandanteforthispiece.
This rondos special characteristics are well worth considering, for the
Classicrondoisgenerallyinafasttempo;inthisrondoMozartjoinshands
with the spirit of Carl Philipp Emanuel Bach, who had himself written a
sadrondowhichhehaddedicatedtohisSilbermannclavichord.

Fortepiano
AdagiohmollK540Vienna,19March1788
This strange movement seems to be all that was composed of a large
scaledsonatathatwasnevertoseethelightofday.Butisitreallyasonata
movement? G. de SaintFoix writes that To our eyes, this work is more
emotionally charged that many other of his compositions; the musician
here drew all he could from himself, and, alone with the piano that we
knowhepossessed,hewasabletoexpresshimselfwithmorefreedomand
moreemotionthanhecouldsurroundedbyallthegroupsofinstruments
inhisorchestra.ItiscleartousthatthisAdagioinBminorgoesfurtherin
its depths of expression than does any other of his works; here Mozarts
infinitegreatnessintherealmofsoundismadepalpable.

Organ
EinekleineGigueGdurK574Leipzig,16May1789
Mozart played the organ on which J.S. Bach had played in the
Thomaskirche on a trip to Leipzig in May 1789. This little piece was then
transcribedbyK.I.Engel,organistattheLeipzigCourt.

Fortepiano
MenuetDdurK355(576b)Vienna,1789/91
Itispossiblethatthisminuetwasintendedtohavebeenincludedasthe
thirdmovementoftheSonatainDmajordedicatedtoPrincessFrederica
ofPrussia,Mozartthusimaginingthefourmovementtypeofsonatathat
was to become the norm later with Beethoven and Schubert. Its style is
stretched by several chromatic passages, taking the piece far away from
thesimplegalanterieofaminuet.

Fortepiano
AndantinoEsdurK236(588b)Vienna,1790
H.C.RobbinsLandonidentifiesthispieceinhisMozartDictionaryasbeing
a theme by Gluck which Mozart had doubtless intended to treat as a
ThemeandVariations.

Glassharmonica
AdagioCdurK356(617a)Vienna,791
The glass harmonica was invented by Benjamin Franklin, the instrument
consisting of an assembly of crystal bowls arranged by semitones and
placed one within the other without touching. A pedal then turned the
mechanism to turn the assembly of bowls, which were then made to
vibratebytheplayertouchingdampenedfingerstotheedgesofthebowls.
TheinstrumenthadagreatsuccessinVienna.ThisAdagiomusthavebeen
written for the blind virtuoso Marianne Kirchgassner, as had been the
AdagioandRondowrittenforglassharmonica,flute,oboeandstringtrio.

Fortepiano
Allegro&AllegrettoFdurKAnh.135(547a)
Thesetwoworksaretranscriptions,buttheirdestinedinstrumenthasnot
yetbeenidentified.TheAllegrocomesfromtheSonataforviolinandpiano
K 547, while the Allegretto is a transposition of the last movement from
theSonatainCmajorK545.

Organ
AndanteFdurK616Vienna,4May1791
Ihavenowtakenthedecisiontowriteanadagiofortheclockmaker,so
that a few ducats can dance together in my dear little wifes hands (3

October, 1790). Mozart had agreed to write three pieces fora clockwork
organ to earn a little money, even though we know that the task bored
him,mightitnotbeinterestingtoimaginethattheseworkshintatwhat
Mozart was capable of when seated at an organ albeit somewhat
lessened by mechanical demands and the instruments shrill timbre? The
onlyautographofthesepiecesthathassurvivedisthatoftheandante,the
onemoreoverthatisbestsuitedtokeyboardperformance.
JrmeLejeune

KEYBOARDWORKS4HANDS/2PIANOS(CD9395)
Thechildrenwillnotonlyplayontwokeyboardinstruments,theywillalso
performquatremainsononesingleone.Thisremarkistobefoundina
Dutchnewspaperfrom20February1766,anadvertismentforaconcertin
Amsterdam to be given by young Mozart, aged nine years, and his sister
Nannerl.IntheseearlydaysofMozartscareeritevidentlywasacuriosity
toheartwopersonssharingasinglekeyboard.LeopoldMozart,Wolfgangs
ambitiousandintelligentfather,stimulatedhissontocomposeworksthat
attractedabroadpublic.Itresultedinaboutadozencompositions,dating
fromallstagesofMozartscareer,bywhichMozartledthefoundationsof
a new genre that was to be further developed by Schubert, Schumann,
Brahms and others.Among these are six fullgrown sonatas, ranging from
theyouthfulK19dtothemagistralK521.
JosvanderZanden

KEYBOARDWORKS4HANDS,VOL.I(CD93)
The Sonata in D major, K. 381, has a Kchel number that is slightly
deceiving.TheworkwasfirstprintedbyArtariain1781(underOpus3),but
thereareindicationsthatitcameintoexistenceasearlyas1772,because
CharlesBurney,atravelingmusicjournalist,reportedthatheheardMozart
andNannerlplaythework.This,togetherwiththecircumstancethatthe
autograph manuscript was later in Nannerls possession, suggest a
Salzburgorigin.

Astheotherfourhandsonatas,theworkhasthreemovements.Therapid
opening is a sonata form with short, compact themes and a brilliant
development section with sparkling dischords. Also easygoing is the
Andante,wherethemelodicmaterialisevenlydistributedamongthetwo
players. The material is even placed in a low bass register, forming a
curiouscantusfirmus.Thejolly,shortfinalehasthecharacterofamusical
joke, with questionsandanswers, delicate triplets and a rhythm that
foreshadowselementsofLeNozzediFigaro.

In1782,shortlyafterhehadmovedfromSalzburgtoVienna,Mozartmade
the aquaintance with court librarian Gottfried van Swieten, a fervent
admirer of the music by Bach and Hndel. It led Mozart to study these
masterworks for himself, because they were partly new to him, and he
startedexperimentingwithallkindsofcontrapuntaldevices.Manyfugues
and canons were the result, and the Fugue in G minor, K. 401 may be
regardedasoneofthefinestoutcomes.Thisworkwasleftunfinishedas
mostcompositionalexerciseswerebutitwascompletedafterhisdeath
by Maximilian Stadler. Mozart did not specify any instrumentation,
therefore the work is sometimes heard on organ. Considering the wide
spacingofthevoices,anadaptationforpianoduetisalsoconvincing.

A juwel among Mozarts fourhand works is the magistral Sonata in F

major, K. 497. Composed only shortly after Le Nozze di Figaro had its
Viennapremiere,inAugust1786,thisworkrepresentsMozartatthepeak
of his career as a composer. It is a highly personal work that carries the
fourhandgenrefarbeyondthedomesticcontext.Itischaracterizedbya
lively interchange between the two players, contrapuntal thinking, bold
appogiaturasandafreeuseofdischord,especiallyinthemasterlyfinale.

A mysterious slow introduction, expressive, polyphonic and full of daring

harmonies,providestheatmosphereofthemusictocome.Thesebarsare
as uncompromising as the Haydn quartets. Even more daring are the
harmonic clashes in the development section of the lively Allegro. The
chromaticprogressionsandorchestraltexturesofthesebarshadastrong
influenceonbothBeethovenandSchubert.Theslowmovement,Andante,
is of an unusual length. The main theme in B flat major resembles the

95010MozartCompleteEdition
41


romancefromtheHornconcertoK.495,composedinthesameyear1786.
In the central episode of this movement a dark C minor destroyes the
cantabile character of the exposition. The finale, in rondo form, is full of
surprises,bothharmonicallyandtextually.Therangeoftechnicaldevicesis
moreandmorebroadened;therearespecimensofcanon,fugato,daring
modulationsandconcertolikescalesandcadences.Withthesesymphonic
tendencies this sonata reaches a level in the genre of fourhand piano
musicnottobesurpassed.
JosvanderZanden

KEYBOARDWORKS4HANDS,VOL.II(CD94)
TheSonatainCmajor,K.19dwascomposedwhenMozart,togetherwith
his family, toured through Europe in the years 1763 to 1766, visiting
Germany,France,theNetherlandsandEngland.Thesonatahaditsorigin
inEngland,whereMozartandhissisterplayeditveryoften,astheywould
laterdoinseveralcitiesinHolland.ThereislittledoubtthatfatherLeopold
hadhishandinthework,ofwhichnoautographsurvives.Ithasevenbeen
suggested recently that the sonata might be apocryph, but the
circumstantial evidence to support this is rather thin. The sonata clearly
bears the hand of a child, with clearcut melodies and standard
Albertibasses.

A minuet with trio takes the place of the expected slow movement. The
next work on this disc was composed for a mechanical, selfplaying little
organ,calledaFltenuhr.Ithadnokeys,butaclockwasconnectedwitha
rotating cilinderwith pins. The resulting sounds were amplified by 8foot
or 4foot pipes. In Vienna, count Deym ran a museum which housed a
great number of such instruments. In 1790 he commissioned Mozart to
write some music for it, a task Mozart considered rather uninspiring. A
yearlater,however,heagaincontributedaworktothegenre,thistimea
compositionofgreatgrandeurandartistry.ItwastheOrgelstckfreine
Uhr,K.608,writtenon3March1791.Thispiecehastheformofaprelude
andfugue,enlargedwithanAndantewithvariations.Ofcoursenowadays
thismajesticworkisoftenplayedonfortepianoquatremainsororgan.It
is good to realize, however, that in fact the only correct way to produce
this music is by way of mechanical reproduction. Any interpretation by
human hands (and/or feet) is necessarily based on a transcription of the
music,notonMozartsoriginalnotes.

Nevertheless,aperformanceonfortepianoisasmuchimpressiveandmay
prove that this is one of the finest pieces of organ music the classical
period has provided. In November 1786, shortly after completing his
magistral fourhand Sonata in F Major, K. 497, Mozart wrote an Andante
withFiveVariations,K.501.AsMozartundertooksometeaching,itissafe
toassumethatthesetwastheoutcomeofhiseducationalactivities.Itis
aneasygoingworkwithvariationsofincreasingrhythmicdensity.Thefirst
threeareofafigurativecharacter,butthefourthisanexpressiveminore
in Mozarts favorite key G minor. The work ends with a delightfully jolly
variationwithrunningpassagework,equallydevidedbetweenthehands.A
shortcodaleadstoarepetitionofthetheme.

AjuwelamongMozartsfourhandworksisthegreatSonatainCmajor,K.
521. Composed about the same time as Don Giovanni, in the summer of
1787,thisworkrepresentsMozartatthepeakofhiscareerasacomposer.
In fact is was completed one day after in Salzburg his father died. It is a
highly personal work that carries the four hand genre far beyond the
domestic context. As the Sonata K. 497 it is characterized by a lively
interchange between the two players, contrapuntal thinking, bold
appogiaturasandafreeuseofdischord.

The sonata recalls the idiom of the great piano concertos Mozart had
composed in earlier years. It is certainly no easy work.Mozart himself
warned his pupil Franziska von Jaquin of its difficulty. On the one hand
there are the difficulties of a technical nature, with a concertolike
virtuosity; on the other hand there is the impressive musical dramatism,
especiallyindevelopmentsections.Aftertheturbulentopeningmovement
thereisarelaxedAndante,whichishoweverunexpectedlyinterruptedby

a restless D minor intermezzo. The finale is a rondo (Allegretto) with a

playful refrain which contrasts with modulating sections. The work ends
withanextendedcodaagaininthestyleofaconcerto.
JosvanderZanden

KEYBOARDWORKS4HANDS&2PIANOS(CD95)
TheSonatainBflatmajor,K.358wascomposedhasaKchelnumberthat
is slightly deceiving.The workwas first printed by Artaria in1781 (under
Opus 3), but there are indications that it came into existence as early as
1774inSalzburg.Thisissuggestedbythehandwriting(themanuscriptisin
the British Museum, London) and by the fact that the autograph
manuscript was later in Nannerls possession. As the other fourhand
sonatas, the work has three movements. The lively opening is a sonata
formwithshort,compactthemesandadevelopmentsectionwithelegant
sequenses. More expressive is the Adagio, where the melodic material is
evenly distributed among the two players. The jolly, short finale is
characterizedbydynamicshadingsandtonerepetitions.

The next work on this disc was composed for a mechanical, selfplaying
littleorgan,calledaFltenuhr.Ithadnokeys,butaclockwasconnected
witharotatingcilinderwithpins.Theresultingsoundswereamplifiedby8
footor4footpipes.InVienna,countDeymranamuseumwhichhouseda
great number of such instruments. In 1790 he commissioned Mozart to
write some music for it, a task Mozart considered rather uninspiring and
which resulted in the Adagio and Allegro in F minor, K. 594. In spite of
Mozartscomplains,bothpiecesareboldlyoriginalfromaharmonicpoint
ofview.TheintroductoryAdagio,whichrecursattheendofthepiece,is
fullofharmonicsurprisesandtheAllegroisacontrapuntaltourdeforce.
Ofcoursenowadaysthesepiecesareheardonfortepianoquatremains
ororgan.Itisgoodtorealize,however,thatinfacttheonlycorrectwayto
produce this music is by way of mechanical reproduction. Any
interpretation by human hands (and/or feet) is necessarily based on a
transcriptionofthemusic,notonMozartsoriginalnotes.

In1782,shortlyafterhehadmovedfromSalzburgtoVienna,Mozartmade
the aquaintance with court librarian Gottfried van Swieten, a fervent
admirer of the music by Bach and Hndel. It led Mozart to study these
masterworks for himself, beacuse they were partly new to him, and he
startedexperimentingwithallkindsofcontrapuntaldevices.Manyfugues
and canons were the result, and the Fugue in C minor, K. 426 may be
regarded as one of the finest outcomes. The work was later transcribed
and augmented by Mozart himself forstring quartet, a clear sign that he
valued the work. The manuscript of this arrangement was later in the
possessionofnolesserthanBeethoven,whostudieditcarefullyandmade
a copy of his own. The Sonata in D major, K. 448, not written for quatre
mains but for two pianos, dates from the last months of 1781, when
MozarthadshortlybeforemovedfromSalzburgtoVienna.Hewasfullof
enthusiasm in the best place of the world for someone likeme and he
contributedworkstomanydifferentgenres.

ThesonatawasprobablycommissionedbytheAurnhammerfamily,where
Mozart performed it on 24 November 1781 on a private concert.Mozart
must have regarded it as a challenge, because with two pianos he had
more opportunities for contrapuntal devices and the distribution of the
melodicmaterial.Thetwopianistswerenotineachotherswayandeach
hadfullcontroloftheirkeyboard.Thismayexplainthesymphonictexture
ofthethreemovements.Mozartmusthavevaluedthesonata,becausein
Vienna he played it on several occasions with one of his pupils, Barbara
Ployer,onceinthepresenceofhisrivalGiovanniPaisiello.
JosvanderZanden

95010MozartCompleteEdition
42


ORGANMUSIC(CD96)
TheOrganintheCathedralofBrixen
The organ in the cathedral of Brixen has been built into a historical case
from1758bytheTirolyanOrganConstructingCompanyJohannPirchner.
The instruments include elements of the predecessor organ as to the
dispositionandtheconstruction;thusitisidealfortheperformingofthe
musicofthe18thcentury.

Hauptwerk:Violine4Pedal:
Prinzipal16Nasat22/3Untersatz32
Bordun16Oktav2Prinzipalba16
Prinzipal8QuartdeNasat2Subba16
Rohrgedeckt8Terz13/5Oktavba8
Viola8Scharf4fach11/3Gemshornba4
Oktav4Fagott16Choralba4
Nachthorn4Cromone8Hintersatz4fach22/3
Gemshorn4GlockenspielPosaune16
Quint22/3TremoloTompete8
Superoktav2Clarine4
Mixturmajor46fach2Unterwerk:
Mixturminor34fach1Gedeckt8Koppeln:
Cornett5fach8Portunalflte8PositivHauptwerk
Trompete8Prinzipal4Unterwerk
Gedeckt4Hauptwerk
PositivOktav2HauptwerkPedal
Prinzipal8Waldflte2PositivPedal
Schwebung8Quint11/3UnterwerkPedal
Gedeckt8Zimbel3fach1Planotritt
Salizional8Voxhumana8
Oktav4Tremolo
Rohrflte4

When I told Herr Stein that I wanted to play his organ, since the organ
was my passion, he was very surprised and exclaimed:What, a man like
you, such a great pianist, wishes to play on an instrument devoid of
douceurandexpression,ofpianoandforte,onethatisalwaysthesame?
Oh,thatmeansnothingtome.Tomyeyesandears,theorganisstillthe
King of the instruments (letter by W. A.Mozart to his father, dated
Augsburg18October1777).

MozarttheOrganist
WehavenumerousreportsextollingMozartsvirtuosityontheorgan.The
many stations on his extensive travels abound in accounts of astonished
listenersorproudlettersbyhisfather.In1762,Leopoldwroteaboutavisit
to a church in Ybbs on the Danube, where our little Wolfgang romped
aboutontheorganandplayedsowellthattheFranciscansandalltheir
guestslefttherefectory,camerushingtothechoir,andpracticallydiedof
amazement. Referring to his 8yearold son, Leopold claimed that
everyone feels that he plays the organ better than the clavier.Mozart
played the most famous organs of his time.We have documents about
recitalsplayedontheClicquotorganofthecourtchapelin Versailles,on
the illustrious Mller organ in Haarlem, on Italian instruments in Verona
andBolognaandonsomeofthemasterworksoftherenownedSilbermann
family in Strasbourg and Dresden. At Leipzigs St. Thomas church, cantor
Doles was utterly enraptured with the artists playing and felt that old
Sebastian Bach, his teacher, had resurrected. An account from Prague
relates that Mozart played at the Strahov Monastery with such glowing
enthusiasmthatpeoplejuststoodthereasifpetrified.Thisreportalso
provides important information about Mozarts art of improvisation and
registration.

ThisCDcontainssomeworkswicharerecordedelsewhereinthisset.The
reason for this duplication is the fact that they are played on different
instruments

REQUIEMK626(CD97)
The unique circumstances surrounding the composition of Mozarts
RequiemareremarkablefortheiralmostDickensianmelodrama.Justafew
weeks before his own death in 1791 at the age of only 35, Mozart was
approachedbyagentlemanactingonbehalfofananonymouspatronwho
wished to commission from him a Requiem Mass. This patron we now

know to be Count Franz von Walsegg, whose wife had died in February
thatyear.TheCount,whowasakeenandableamateurmusician,wished
to be regarded as a major composer and saw in this commemorative
commission an opportunity to further his own ends by passing off the
Requiemashisown.Hethereforeconductedallbusinesstransactionswith
Mozart in secrecy so as to preserve his own anonymity; hence the
subterfuge of sending a business agent to act on his behalf. On several
occasions this gentleman arrived unannounced at the composers house.
To the dying Mozart, well known for his superstitious nature and quite
possibly sensing his own impending demise, these mysterious visitations
hadallthehallmarksofthesupernatural.

BythetimehestartedworkontheRequiemMozartwasalreadyterminally
ill, and parts of the composition were actually written whilst on his
deathbed.Intheevent,hediedbeforehecouldcompleteit,tothegreat
consternationofhiswidow,Constanze.Paymentfortheworkhadalready
been received, and she feared that if it was handed over incomplete the
commissioningpatronwouldrefusetoacceptitandexpecthismoneyto
be returned. She therefore decided to elicit the help of some other
composer who might be able and willing to finish it for her, but despite
several attempts being made, notably by Joseph Eybler and Maximilian
Stadler, none came to fruition. Eventually Constanze approached Franz
Sssmayr. There were many advantages to this arrangement; Sssmayr
wasoneofMozartsmoreablepupilsandhadbeenwithhimagooddeal
during the final year of his life. He had several times played through the
completed parts and discussed the instrumentation with Mozart. Why,
then, had Sssmayr been not been Constanzes first choice, despite the
factthathehadbeenthecomposersclosestmusicalconfidanteandknew
what his intentions were in respect of the Requiem? This is but one of
severalintriguingquestions,theanswerstowhichwewillalmostcertainly
never know, but which will no doubt continue to fascinate musical
historians.

Oftheworks12movements,Mozarthadonlymanagedtocompletethe
opening Kyrie in its entirety. For most of the others he had written the
vocalpartsandafiguredbassline(akindofharmonicshorthand),leaving
just the orchestration, for which he had clearly indicated his intentions.
These movements may therefore be regarded as essentially the work of
themaster.Forreasonsunknown,Mozartpostponedwritingtheseventh
movement, the Lacrimosa, until after writing movements eight and nine,
butmanagedonlythefirsteightbarsbeforedeathatlastovertookhim.He
left a number of other fragments, such as the trombone solo at the
opening of the Tuba mirum. Sssmayr completed the Lacrimosa, and
composedthewholeofthelastthreemovements,Mozarthavingpassed
awaybeforehecouldevenbeginthesesections.Sssmayrusedsubstantial
partsoftheorchestrationbegunbyStadlerandEybler,andfortheclosing
passages he repeated Mozarts own music from the opening movement,
an idea which, according to Constanze, Mozart himself had suggested.
Muchmoredaunting,however,wasthetaskofwritingtheentireSanctus,
BenedictusandAgnusDeihimself,theprospectofwhichhaddefeatedhis
reputedly more talented fellow composers. Eybler, for instance, despite
contributing some worthwhileorchestration, had managed only two very
unconvincing bars of the Lacrimosa before giving up and returning the
entire portfolio to Constanze. Sssmayr was evidently made of sterner
stuff,andbytheendof1792hehadfinishedthetask.Opinionsdifferasto
thequalityoftheSssmayrmovements,thoughitisgenerallyagreedthat
theAgnusDeiisthemostsuccessful.

A copy was made of the completed score before it was handed over to
CountWalseggsenvoy,butnomentionwasmadeofSssmayrspartinits
compositionandformanyyearsitwasgenerallybelievedthatMozarthad
indeed written the entire Requiem. Amongst Mozarts circle, however, it
was common knowledge that the composer had not lived to see its
completion.Consequently,someconsiderablecontroversylaterensuedas
totheworksauthenticity,compoundedbythefactthatCountWalseggs
score disappeared for nearly 50 years, to be rediscovered only in 1839.
Fortunately, this complete score and Mozarts original unfinished
manuscriptsdidbothsurvive,andarenowsecurelyhousedintheVienna
State Library. Comparison of the two sources has shown quite clearly
whichpartsMozarteitherwrotedownorindicatedintheformofsketches
and footnotes, and which parts were completed and composed by his

95010MozartCompleteEdition
43


pupil.However,thematterisnotquitethatstraightforward.SinceMozart
isknowntohaveplayedthroughanddiscussedthemusicwithSssmayr,it
seemsmorethanlikelythathewouldhavepassedonideasthathecarried
inhisheadbuthadnotyetwrittendown,andforthisreasonwecannever
beentirelysureofpreciselywhatisMozartsandwhatSssmayrs.Butall
this conjecture is of little consequence as we listen to the music. It is
Mozartsgeniusthatshinesthrough.
JohnBawden

SACREDMUSIC(CD98103)
InhisearlyyearsMozartwasintheserviceoftheArchbishopofSalzburg.
His main duty was to provide sacred music for liturgical use. These early
worksshowanamazingfreshnessofinventionandhighcrafmanship.

MASSINCMINORK427(CD104)
The Great C minor Mass of 1782 is perhaps Mozarts finest example of
ChurchmusicbeforetheunfinishedfinalRequiemwrittenintheyearofhis
death(1791).ItstandsindirectcomparisontotheBminorMassofBach
and Beethovens Missa Solemnis and is somehow almost to be seen as
the missing link between the two. This is Mozart, not only at his most
inspired both melodically and orchestrally but it is also Mozart at his
grandest and most intense. And all of this despite the fact that what has
beenhandeddownisnomorethanatorsowhichlatermusicianshavehad
tofillout.Likemanyofthegreatincompleteworksofmusicalhistory,itis
notentirelycertainwhytheworkremainsinthisstatebutitisfairlycertain
that Mozart intended the addition of movements from earlier Masses to
makeupthecompletework.

By1778,Mozarthadbecomeagreatsuccessandspentmanyyearstouring
both as performer and composer with his father Leopold as well as his
talented singer and pianist sister. It was at this time that he was also
introduced to Aloysia Weber, the daughter of a Mannheim amateur
musician. The two young people fell in love and Wolfgang was almost
ready to give up everything for his infatuation with the young lady.
Leopold, both as father and protector of his young genius of a son was
furious: he saw the possible end both of his sons fame and his own
financial interests and was quick to put an end to the relationship.
WolfgangsomehowagreedtoendhiscourtshipofAloysiaandsethimself
back to work but by 1781, he was back in Vienna and somehow met up
with the Weber family again only by now, all chances of marriage to
Aloysia were over, she had already found another suitable husband.
Despitethat,WolfgangtookuplodgingsinViennawiththeWeberfamily
andnowcameintocontactwithAloysiasyoungersisterConstanzewhom
hewastoproposeto,againtohisfathersdismay,andfinallymarryon4th
August 1782. Mozart was twenty six years old, Constanze Weber merely
nineteen.

Thiswas,despiteMozartsamorousinvolvements,aperiodofconsiderable
musical creativity which gave rise to such works as The Seraglio, the
Haffner and Linz Symphonies and a good number of Piano Concertos
aswellastheCminorMass,aworkthatMozarthadpromisedfromhis
heartofheartstohavecompletedforConstanzewhenhebroughtheras
his wife to his home town of Salzburg. In fact, all that Mozart seems to
havebeenabletofinishofthenewMasswastheopeningKyrie,theGloria,
SanctusandBenedictus.Inaddition,hemanagedtosketchafullversionof
the opening two sections of the Credo but never got round to
orchestrating them. The Mass had not been a commision, like many of
Mozarts earlier Salzburg works and Mozart had no official contract with
the Church authorities in Vienna. Mozart did receive commissions in
Viennafororchestralandchamberworksbuthewasneveraskedtowrite
specificallyforStStephensCathedralortheImperialChapel.Perhapsthis
may explain his inability to finish the work, perhaps, more unkindly, his
relationshipwithhisnewwifehadalreadytakenadownwardturnandhis
earlierpromisesnolongerheldthesameweightforhim.Whatiscertainis
thatMozarthadConstanzesvoiceinmindfortwothesolosopranoarias
intheMasswhenitwasperformedinStPetersChurchinAugustjustas
the orchestration makes it clear that the work was planned for
performance by theSalzburg orchestrasforces. Thework veers between
the grandeur of Bach and the sensuality of Italian opera, the latter

particularly present in the lengthy soprano aria Et incarnatus est. Like

Verdis later Requiem Mass, this is religious music not best suited for
churchpurposes,neverthelessitremainsoneofthegreatworksofitskind
inmusicalhistory.Later,Mozartwastoadaptthemusicandtransformit
intoasacredoratorioinItalianDaviddePenitente,firstperformedtwo
yearslaterduringtheperiodofLent.
Dr.DavidDoughty

KYRIEINDMINORK341MISSASOLEMNISINCK337CORONATION
MASSINCK317(CD105)
D minor is the key of Mozarts final great religious work the unfinished
Requiem(K626)oftheyearofhisdeath,anditisthereforenotsurprising
that the Kyrie in that same key (K 341) has much of the solemnity and
darkness of that last masterpiece. This work, the opening movement
perhapsofanunfinishedMasswasthelastworkthatMozartwastowrite
whilst in the service of Archbishop Colloredo of Salzburg although it was
composed,notinSalzburgbutinMunich.Originally,Mozarthadintended
to give performances of two earlier Masses in honour of the Bavarian
Electorbutfoundthemunsuitableandso,whilstworkingonthefinestof
his Opera Serias (Idomeneo), he penned this rare example of religious
musicinaseriousandtragicvein.

IfmanyofMozartsreligiousworkscanbeseenasfestivepieces,thisone
is an example of the composers deep feeling and sense of consolation;
theremaynotbethepreoccupationofdeathoftherequiembutthereis
somethingherequitedifferentfromtheearlierMasses.Themovementis
of some length and the arch of its intensity and feeling is sustained
throughout against an orchestral accompaniment that includes no less
thanfourresonanthorns.

Mozart spent much of his youth travelling to the major cities of Europe,
performing with his sister and writing music for commissions for private
individualsandforpublicfigures.Theyearsof1778and1779sawhimin
both Mannheim and in Paris, the French capital. It was after his return
hometoSalzburgin1779,thatMozartstartedworkonanewMasstobe
known as the Krnungsmesse or Coronation Mass. This is not a Mass
writtenfor anysecular coronation butwaswritten to fulfil avow he had
made to honour the crowning of a miraculous statue of the Virgin Mary
outside Salzburg which had originated in 1751 and was celebrated every
yearonthefifthSundayafterPentecost.

This C major Mass (K 317) is divided into six sections a Kyrie, Gloria,
Credo,Sanctus,BenedictusandfinalAgnusDei.Itisashortwork,lasting
aroundonlytwentyminutesintotalbutdespitethis,itisoneofMozarts
finestearlyMasseswithadepthoffeelingwhichissurprisingandmaywell
be put down to the experience that the composer had gained on his
lengthytravels.ThusMozartgiveshisfanfaresintheopeningKyrie,notto
thebrassbuttotheviolinsandalthoughthereislittletrulyrevolutionaryin
thebasicoutlineofthework,therearemanyfelicitousmomentssuchas
the sad Crucifixus section in the Credo and the beautiful soprano solo in
thefinalAgnusDeiaforetastehereperhapsoftheCountessariasinThe
MarriageofFigaro.Alinall,thisisMozartatbothhismostpopularand
alsohismostinspired,reachingforwardalreadytothelatermasterpieces
such as the unfinished C minor Mass (K 427) and the final and equally
unfinishedmasterpieceoftheRequiem(K626).

Barely a year after the completion of the C major Mass (K 317), Mozart
composedacompanionpieceinthesamekeyK337.Thiswastobethe
finalMassthathewouldwriteinSalzburgfortheChurchauthoritiesthere.
The format of this Mass is the same as the previous one, with six short
movements and shows the traditions of the Salzburg Masses where the
lengthysections,verbally,oftheCredoandtheGloriaaredealtwithinthe
briefestoffashions,althoughsketchesforalengthierversionoftheCredo
have survived. The Mass is strictly a conventional one, with an eye on
ArchbishopColloredosratherconservativetastesinmusic,untiltheharsh
and strident Benedictus movement written in A minor and in fugal style,
hardlyconciliatoryasmostofthecorrespondingmovementsoftheother
Masseshadbeen.MozartalsodepartsfromtraditioninthefinalAgnusDei
byincludingalengthysopranosoloagainstsoloorganandwinds.
Dr.DavidDoughty

95010MozartCompleteEdition
44


MISSAEKV275&K262(CD106)
ThepositioningofthetwomassesonthisCDplacesthemchronologically
within the period of the three short Masses written as a trilogy the
CredoMass(K257),SpaurMass(K258)andOrgansoloMass(K259)
and the Regina Coeli Motet (K 276). This is also the period of Mozarts
remarkable Jeunhomme Piano Concerto (K 271) and the splendid
soprano Concert Aria Ah lo prevedi (K 272). Hardly a period devoid of
masterworks and yet these two Masses are amongst the lesser known
religiousworksofthecanon.Theyearof1775had,infact,beenonewhen
MozartmovedawayfromcomposingmusicfortheChurchandhisreturn
toreligiousmusicwaswiththeLitaniaedevenerabilialtarissacramento
a work not commisioned by the Archbishop and thus one of his freest
sacred compositions with extensive arias and contrapuntal passages, a
workwhichallinallisoneofthemoreforwardlookingpiecesofitskind
andtime.

ThesocalledMissaLonga(K262)isthefirstoftheMassestobewritten
in 1776 actually predating the above mentioned trio of short Masses
most probably in May of that year. The length of the new Mass has
suggested that it was not composed for the Cathedral where Archbishop
Colloredowaslookingforshortandconciseliturgicalaccompanimentsto
his services, but rather for the ornate Church of Saint Peter. But despite
thelengthofthenewwork,itisstillachoralwork,morelikeamissabrevis
thanamissasolemnisandcontainingnosolooperaticstyleariasalthough
there are individual vocal parts rising from the choral framework. The
unusual length of the work grafted on to its simple form is one of the
reasonsfortherelativefailureofthepiecefromamusicalpointofview.It
is also an unbalanced piece where Mozart seems to have put all of his
effortsintotheearlierpartoftheMass,theGloriaandCredoinparticular;
here he provides concluding fugues on a grand style for those two main
sections before failing to make anything significant of the Sanctus,
BenedictusorAgnusDei.IndeeditisperhapsfairtoseetheMissaLonga,
despite its unusual and probably inappropriate duration, as Mozart
subduinghislyricalandmoretheatricalsidetotherigoursofamuchmore
conservativeandalmostausterechurchstyle.

After the three Masses that followed in that year (K 257259), Mozart
again retired from Church composition for another year until the late
summer of 177 when he composed a Mass in B flat major (K 275), also
included on this compact disc. This is a simple and far more lyrical work
thantheMissaLonga.ThenewworkwasfirstperformedonDecember
21st and was probably written in thanksgiving for Mozarts safe return
fromanotherofhislongjourneysandwouldseemtobewritteninhonour
of the Virgin Mary. The music for the Mass is written in a deliberately
popularstyleandrequiresonlyasmallorchestraasaccompaniment;such
qualities probably account for the fact that it seems to have been
performedsubsequentlyinmanydifferentchurches.Themusichasmany
chromaticturnsandindulgesinagreatdealofpolyphonyaswellaslyrical
soloparts.Thefinalsection,theDonanobispacemisevensomehow
akin to the decidedly operatic finaleofMozartsSeraglioand its rather
vernaculartouch.
Dr.DavidDoughty

ORGELSOLOMESSE K259 SPAURMESSE K258 CREDOMESSE K257

(CD107)
During the 1770s Mozart had a place in the Salzburg Court orchestra,
whichaccordingtosomecommentatorswasafinegroupofmusiciansbut
which Mozart himself found severely wanting. In the early days of his
employmenthewasexpectednotonlytoplaybutalsotocomposeforthe
seeminglybenevolentArchbishopSchrattenbachbutitwasnotuntilafter
the old Archbishops death in December 1771 (one day after Mozarts
returntothecity)thathecameunderthecontrolofthemansoontobe
hisarchenemy,ArchbishopColloredo.

Despite the many tales of dislike and outright rebellion against his new
master, things began well enough for Mozart under his new patron.
Colloredo was both sensitive and highly musical in his own way and that
Mozartwasawareofthisandthepossibilitiesofhisnewemploymentwas
clearfromthegroupofworksheproducedforhisnewemployer.Ofthose
works, many were, not surprisingly for Church celebrations and these

includedalargenumberofMasses,somewhichsurvivecompleteothersof
which only a single movement exists. An example of the density of
compositionoftheseworksexistsinthethreeshortMassescomposedin
theshortperiodofNovemberandDecember1776whichareincludedon
thisDisc.

ItisnotunusualforMozartsMassestobeartitles,justasdidthoseofhis
elder contemporary Joseph Haydn although Haydns great Masses were
written towards the end of his life and therefore cannot have had any
influenceonMozartsreligiousworks.Itis,however,convenientthatthe
three Masses Mozart wrote in such a short time have titles that can
distinguishthemonefromanothertheCredoMass,theSpaurMassand
the Organ solo Mass. Apart from their proximity in composition dates,
what binds this trilogy of Masses together is their brevity. Mozarts
lengthierreligiousworksdonotonlydatefromhismaturityandlastyears
(workssuchastheGreatCminorMass(KV427)andthefinalRequiem
(KV626)),hehadalsowrittenlengthyworksearlierinhiscareer,suchas
the WaisenhausMass (KV 139) or the early DominicusMass (KV 66)
Here he had found a new brief style which not only suited his patron,
Colloredo,butpresumablyalsohimselfandthiscanonlybeconfirmedby
thesimilaritiesinallthreeoftheMasses.

The CredoMass is, in many ways, a more lyrical form of Church music
than Mozart had attempted before it is perhaps not beyond reason to
suggestthatherearethefirstlinksinreligiousmusicthatwouldeventually
lead to Rossinis Stabat Mater and the Requiems of Verdi, Dvorak and
Benjamin Britten. It is in the Credo section of what is otherwise a
conventional six movement Mass, that Mozart finds this new style an
emphasis away from the counterpoint of Bach towards a new simplicity
anddirectexpression.

ThetwoMassesofDecember1776maynotbeonquitethesamelevelof
innovation as KV257 but do continue this tendency towards brevity. The
SpaurMass was given its name by Mozarts father Leopold and was
written for the consecration of Count Friedrich von Spaur, the Dean of
Salzburg Cathedral. This has one of Mozarts shortest attempts at the
settingoftheGloriacontrastingwiththesimpleandmovingBenedictus
and the reverential close of the final movement. Similarly, in the Organ
soloMass(KV259),itistheCredowhichisMozartsshortestsettingof
thatwordytext.HereagaintheBenedictustakesprideofplaceandindeed
gives the work its title, by combining a brilliant organ solo part in the
texture.Infact,thebrevityofthesetwoMassesissuchthattheyweighin
atatimeofhardlyfifteenminuteseach.
Dr.DavidDoughty

MISSAEBREVESK192,194&220SPATZEN(CD108)
Musical settings of the Christian Liturgy have existed since the Medieval
and early Renaissance times, such as those by Josquin des Prez and
Machaut developing up to the great works of Monteverdi and his
contemporaries before the Baroque and Classical periods settings by
Handel, Hasse, Mozart and Haydn. The inbuilt need for religious musical
expression then continued with works by nineteenth century composers
such as Berlioz, Dvorak and Verdi and even the more agnostic twentieth
centurycontinuedwithitsfairshareofreligiousworksbyFaure,Poulenc,
BrittenandStravinskyamongothers.InMozartstimetheseMasseswere
oftendividedintolengthierworksunderthetitleofMissaSolemnissuch
asMozartsownCminorMass(K427),Haydnssixlatemasterworksand
Beethovens large scale work of that name. Many of Mozarts shorter
works had their form dictated by the needs of the Cathedral in Salzburg
where Archbishop Hieronymus Colloredo was insisting on short and
uncomplicatedworkstoaccompanyhisreligiousservices.ThatMozartdid
notfullyconformtohispatronswishesisnosurprisegiventhenatureof
thecomposersexploratorynatureandinherentgeniusbutitissignificant
that many of the works written during his time in Salzburg did, at least
outwardly, attempt to conform to the wishes and specifications of the
rather unloved Archbishop. Colloredo has, in fact, rather a worse
reputationthanheprobablydeserved.Hewasamanofsomeabilityand
with a definite musical taste and it is probably only because he came up
against a musician of such undoubted genius as Mozart that frictions
between the two developed.Mozart was not a man who could be

95010MozartCompleteEdition
45


subjectedtocontrolofhismusicianshipbyanymeremortalandsoevenin
the standard missae breves, there are progressive and extraordinary
strokesateverycorner.

ThethreeMassesonthisdiscareextremeexamplesofMozartsbrevityin
thesettingofhistext.TheFmajor(K192)andDmajor(K194)worksboth
datefromthesummerof1774andarebothextremelybrief.Thereareno
orchestral preludes to any of the movements in the later work and the
earlierMasshasorchestralintroductionsonlytotheopeningKyrieandthe
finalAgnusDei.Thetextisalsodeliveredatarapidpaceandoccasionally
almostoverlaps.Themovementsarealsounitedbystringmotivesandin
theDmajorworktheGloriaandCredoarethematicallyunited.Aswellas
allthisbrevityandtheaspectalmostofacomicoperatypeofnearpatter
inthevocalparts,bothMassesmakeuseofverysmallorchestras.These
are probably two of the liturgical settings closest to the ideals of the
Archbishopratherthanthoseofthecomposer.AssuchtheyshowMozart
perhaps not altogether triumphing against adversityas proving his ability
toturnhishandtocommissionedworksinthestyleandmodespecifiedby
hisemployers.

The final Mass in C major (K 220) has the affectionate title of

SpatzenmesseorSparrowMass,notbecauseofanyspecificreference
tobirdsoundsbutbecauseofaSouthGermannameforaviolinfiguration
whichoccursintheaccompanimenttotheCredomovement.Thisistruly
Mozartathisverybriefest,aMasswhichlastsonlysomefifteenminutesin
total.TheSpatzenmessedatesfrom1775,aroundthesametimeasthe
first performances of the opera La Finta Giardiniera in Munich at the
beginning of that year. Although Mozart was in Munich at the time of
composition,itismostlikelythatthisMasswasanothercommissionfrom
Colloredo;itcertainlydoesnotfitinwithaspecificallyMunichstyle.The
workmovesextremelyrapidlyandis,throughout,oneofthemostgood
natured of Mozartsshort liturgicalworks although it does not boast any
particular high moments of inspiration. The work seems almost to be
achievedinonesinglesweep,temposchanginglittle,exceptforanalmost
obligatory slowing down for the Benedictus, soloists merely adding point
to the choral texture and the opening and closing movements relying on
thesamethematicmotive.
Dr.DavidDoughty

TRINITATISMESSEK167MISSABREVISK140(CD109)
Mozarts catalogue of works does not follow the usual pattern of opus
numbers for each piece or collection of pieces but was only first
comprehensively listed by his compatriot Koechel and first published by
Ludwig Ritter in 1862. Koechels catalogue, wellmeaningly, listed all the
worksbythecomposerknowntohimatthetimeandinwhathebelieved
tobetheirchronologicalorderrangingfromthenumberoneharpsichord
work up to the final, unfinished Requiem of 1773. A second edition was
prepared by Paul von Waldersee in 1905 and then a third substantially
revisedversionwasmadebyAlfredEinsteinin1936wheretheneweditor
addednewlydiscoveredworksandevenchangedthenumberingsofsome
ofthepreviouslyknownpiecestogetherwithanappendixoflostworksin
a nonchronological order. A more recent edition was published in 1964
andthussomeoftheworksnowhavemorethanonenumber.

The effect of this cataloguing and recataloguing means that the list
contains both appendices and spurious works (not generally later
consideredtobebyMozart)aswellasaseriesorderthatmaynotalways
beexactlychronological.Someofthesespuriousworksareknownbytheir
original composers, some are more dubious. The Missa brevis given the
Koechel number 140, thus immediately following what is now known as
the Waisenhaus or OrphanageMass is one of these such works and
pleasantasitmayseemtothecontemporaryear,itbeliesweaknessesthat
makeitseemalesserworkthanitspredecessor.

Archbishop Colloredos taste in Masses was such that he required short

and concise works from Mozart rather than the longer more Italianate
stylefavouredsouthoftheAlpsatthetimeandthusMozartwasobliged
after Colloredos accession to compose a series of Missa breves quite
differentfromhislengthyWaisenhausMass(K139).In1773Mozartset

aboutwritingtwoMassesinthisnewstyletheincompleteMissabrevis(K
115)andthesocalledTrinitatisMassof1773.

Although by no means the shortest of his Masses, the C major

TrinityMass follows a pattern of six short movements. The Mass is
howevernotdevoidofacertainsplendourandgrandeuritisscoredfor
oboes, two pairs of trumpets, timpani and strings (albeit minus violas).
MozartdenieshimselftheoperaticsolosofsomeoftheotherMassesand
contracts the two lengthiest sections the Gloria and Credo into single
compositemovementsandrelatingsectionswithinthemovementstoeach
other,creatingwhatisbasicallyachoralmasswhichsomehowstickstoa
sortofmiddleway,neithertotallyfugalandcontrapuntal,norlyrical.There
is one exception here in the section at Et vitam venturi where Mozart
allows himself a fully fugal section which most probably would not have
pleasedhisArchbishoppatron.

TheeffectoftheMassisperhapsoneofmoreseriousintentthansomeof
themoreItalianMassessuchasK139orthelaterCminorGreatMassK
337. Indeed the purpose and the style of this Mass can be seen from
MozartsletterthathewrotetoPadreMartiniinSeptember1776where
heassertsthatsuchMassesareVerydifferentfromthoseofItalymust
notlastmorethanthreequartersofanhour(but)atthesametime
must have all of the instruments trumpets, drums etc etc. In the
TrinitatisMass,Mozartachieveshis(andtheArchbishops)goalperhaps
with the lossof themusical effect of the more spacious andmore lyrical
Massesandreligiouspieceselsewhere.
Dr.DavidDoughty

WAISENHAUSMESSEK139MISSABREVISK65(CD110)
In addition to the problems with Koechels chronology of listings
mentionedelsewhereinthissetofCDs,theMassinCminor(KV139)begs
thequestionthat,ifitsdatingiscorrect,thisisanextremelymaturework
to have come from the pen of a composer who was supposedly hardly
thirteen years of age at the time even if that composer was the
wunderkind we know Mozart to have been. Whatever date is given to
the socalled Waisenhausmesse, this is certainly one of Mozarts finest
Masses, one of his most complex and one of his longest, rivalling indeed
thelatergreatMassesofHaydnaswellasthatCminorMassofMozarts
thatwastobeleftunfinishedandisacknowledgedasperhapsthefinestof
all his religious works before the Requiem. The date is confusing as
officially a festive dedication of the orphanage in question took place in
December1768inthepresenceoftheEmpressandherchildrenbutnone
of Mozarts known Masses are known specifically to have been written
expresslyforthisoccasion.Originally,theMasswaspresumedtobetheG
minor Mass (KV 49) but the argument against such a supposition is that
this isa missa brevis and would hardly have been suited tosuch a grand
event.

Various scholars and authorities have argued the point and it has been
suggestedthattheK139Massmayhavebeencomposedaslateas1772
rather than 1768. On the other hand it has been suggested that the
December1768occasionofferedMozartachancetoimpresstheImperial
Court of young Mozarts exceptional gifts and that this may be a reason
whythissettingissointenseandexpressive.Aspartsofthescorearealso
writteninLeopoldshand,itislikelythatfatherwasintentonhelpingson
toproduceofhisverybest.

The Mass is in five sections Kyrie, Gloria, Credo, Sanctus and Agnus Dei
and calls for four soloists, chorus and orchestra.Within each section are
severalsubsections,someofwhichcontaindecidedlyoperaticariasforthe
varioussoloists.ParticularlythemorelyricalaspectsoftheMassarebased
ontheItalianmodelsofViennasrespectedcomposerJohannHassewith
perhaps some side glances towards the dramatic style of Gluck. Joyful
music mixes with the more operatically sensual aspects and solos, duets
and choruses intermingle as does lyricism and counterpoint: subsections
too are joined together by unifying orchestral passages into what is a
remarkableworkevenforayoungcomposerofundoubtedgenius.

Mozartwrotetwoexamplesofamissabrevisinhisveryearlyyouth:one
wascomposedforViennaintheautumnof1768andasecondwaswritten

95010MozartCompleteEdition
46


for performance in Salzburg on February 5th 1769. It is the latter (K 65)
which appears as a coupling on this disc. These Masses were written for
ordinary Sunday services and use small orchestral forces, nor do they
dividetheGloriaandCredointoseparateandindependentsections.Also,
the soloists are not given special arias but merely come from the chorus
andthenreturntoit.

ThekeysignatureofK65ishighlysignificantasthiswastobethekeyof
Mozarts final Requiem. This short early Mass was written for the
beginningofthefortyhourprayerattheChapelofSalzburgUniversityand
is thus a Lenten (Fastzeit) Mass which precluded the use of the Gloria
although Mozart nevertheless composed the movement, presumably for
use at future performances. The Mass is extremely concentrated and is
wellsuitedtotheLentenstrictures.Amongstitshighlightsaretheduetfor
soprano and alto in the Benedictus and the noteworthy Credo and short
fugalsectionsoftheMass.
Dr.DavidDoughty

DOMINICUSMESSEK66MISSABREVISK49KYRIEK33(CD111)
LeopoldMozartintroducedbothhisyoungsonWolfgangandhisdaughter
totheCourtsofEuropeandtothemusicofthetimeatanagewhichnow
may seem inappropriately young. Youth however was no respecter of
genius in the case of Wolfgang and there may well be an excuse for
treatingachildprodigyinadifferentwaytoordinaryoffspringinourown
time.TheMozartfamilythussetoutonaseriesofjourneysacrossEurope
both for the education of the children and for Leopold to benefit
commerciallyfromthemusicalaptitudeofhissonanddaughter.Thefirst
of these journeys was to the Court of the Elector Maximillian in Munich,
although at this stage Wolfgang was only six years old. Nevertheless, he
waspresentedasachildvirtuosoandonlysixmonthslater,intheautumn
of1762,onatriptoVienna,hehadbecomeachildcomposer.Itwason
thatjourneythatMozartcontractedthescarletfeverwhichwastoaffect
hishealthfortherestofhislife.Afterhisrecovery,thefamilymovedonto
Pressburg. It was, however, on June 9th 1763 that the family began the
mostmajoroftheirtourstodatethiswasajourneythatwouldultimately
lead to France and England and from which they would not return to
Salzburguntiltheendof1766.

DuringthatjourneyandwhilststayinginParis,theyoungMozartmadehis
firstattemptatsettingthetextoftheLiturgyfortheMass.Theresultisa
simpleKyriesetting(K33)ofJune1776whichshowstheinfluenceofhis
Frenchhostsinitssimplemelodicnature.ThisisnomatchforthelaterD
minor work (K 341), one of Mozarts most awesome settings of the text,
but all young composers must begin somewhere and this is a creditable
introductiontotheworldofMozartsreligiousmusic.

Amazingly confident for its time, the Solemn Mass in C major (K 66) was
writtenfortheoccasionoftheordinationofKajetanHagenauer,sonofthe
MozartfamilyslandlordwhoenteredtheBenedictineMonasteryofSaint
Peter in Salzburg whilst the Mozart family were on their Grand Tour.
HagenauercelebratedhisfirstsolemnMasson15thOctober1769andthis
lengthyMasssettingtogetherwithanoffertoryandantiphonwasMozarts
gifttothefamilyfriend.TheMassisonalargescale,quitedifferentfrom
thelaterworkswrittenforArchbishopColloredoandalthoughitcannotbe
saidtobeonanequallyinspiredlevelortoperhapsreachtheheightsof
the later WaisenhausMass (K 139), it is nevertheless a remarkable
achievement combining contrapuntal choral work and the Italian style
quasioperatic elements of arias, duets and ensembles. There are
noteworthy lyrical sections at the Laudamus te of the Gloria and the Et
incarnatus of the Credo and although the final Agnus Dei may lack
something in maturity, the stern choral work of the Crucifixus is quite
magnificent.Theorchestraisafulloneandmakesitseffecttellinglyinthe
granderpassages.Perhapstheoftensupposedshockofthenewaspectof
the Waisenhaus Mass is already prepared for in the more inspired
passages of an early work like this which can be too easily overlooked
whencomparedtothelatergreatMasses.

TheMissaBrevisinGmajor(K49)whichmakesuptheremainderofthis
disc is an example of a Mozart Mass at the opposite pole to the
DomenicusMass.ThisisMozartathismostconcisealthoughitwasnot

written for the austere Archbishop of Salzburg but rather in Vienna in

1768.SalzburgMassesdidwithoutviolapartsbutthisViennamissabrevis
has the violas in the orchestra and unlike the many sectioned
DomenicusMass, Mozart here solves his problems of brevity by
contractingtheGloriaandCredomovementsintosinglespansectionsand
by unifying his melodic themes within these movements, he created a
significant example of how such unification could be done. Early works
these may all be, but they show the differing shade of the talent that
Mozart was able to put to use in his wideranging ecclesiastical, choral
works.
Dr.DavidDoughty

LABETULIALIBERATA(CD112CD113)
MozartsSacredDramas
ThecityofSalzburg,whereMozartwasbornandliveduntilthespringof
histwentyfifthyear,developedfromtheseventhcenturyonwardsaround
itsBenedictineabbey.Abishopricwassubsequentlyinstitutedinthecity,
whichcametoflourishunderthedirectruleoftheHolyRomanEmperor.
SalzburgwasalsooneofthemaincitiesintheAustrianempire.Theruler
ofAustriabytraditionalsoenjoyedthetitleofHolyRomanEmperor.From
1803, the princearchbishop of Salzburg became an Elector entitled to
participateintheelectionofanewemperor.Thisindicatesthattherewere
few cities which played such an important role in both the sacred and
seculardomainsasSalzburg.

Owing to the importance of the city, successive generations of princes

employed large bands of musicians to provide music at the Salzburg
cathedralandcourt.InMozartstime,themusicalforcesemployedbythe
court included a choir consisting of thirty men and fifteen boys and an
orchestrawhichconsistedoftwooboes,twotrumpets,threetrombones,
four bassoons, twelve strings and a percussionist. As many as six organs
were available. The archbishops of Salzburg over several generations
employed leading musicians from Italy who played an important role in
maintainingperformanceslevelsofthehigheststandard.

Oncecanthuswellimaginehowrewardingandsubstantialmusicallifein
Salzburgmusthavebeen.Inthecaseofchurchmusicalone,afullrangeof
music was provided for masses presented on Sundays, holy days and all
kinds of other religious ceremonies. The young Mozart composed much
musicforperformanceinSalzburgchurches:onehasmerelytothinkofthe
sixteenmassesandseventeenchurchsonatas.

The tradition of Austrian church music included a genre of sacred drama

uniquetoAustriaknownastheSepulcro.Thisgenrewasespeciallypopular
in Salzburg, and was performed as early as the seventeenth century at
religious festivities held in churches and at the university. Mozarts own
contributions to the genre of the sacred drama include two works
composedwhenhewasabouttwelve.DieSchuldigkeitdeserstenGebots,
K 35, and Grabmusik, K 42 (35a), and La Betulia liberata, K 118 (74c).
However, whereas the first two works were composed expressly for
performanceinSalzburg,MozartcomposedLaBetulialiberatainanswerto
acommissionwhichhereceivedinthecourseofatourofItaly.

But in spite of this, Mozarts experiences gained in Salzburg played an

equally important role in all three works.Mozart was never again to
composeasacreddrama.Hewasappointedorganistin1779,afterwhich
his involvement with church music increased, but it seems possible that
the composition of sacred dramas did not constitute a part of his official
duties. Another possibility is that the vogue for opera meant that there
were increasingly fewer opportunities for the performance of sacred
dramas. It seems likely that the mood of the times was reflected in
Mozarts creative work. The truth of the situation will no doubt become
clearer as future research throws light on the overall historical
developmentofthesacreddrama.

OriginsoftheSacredDramaLaBetulialiberata,K118(74c)
It was at the beginning of December 1769 that the thirteenyear old
MozartembarkedonhisfirsttourofItalytogetherwithhisfatherLeopold.
Thiswasatourofmajorproportions,lastinguntiltheendofMarch1771.
This was no doubt a hazardous journey for a boy to make during the

95010MozartCompleteEdition
47


eighteenthcentury,butLeopoldmusthavethoughtthat,despitetherisks,
itwasofsupremeimportancetoallowhissontocomeintocontactwith
the music of Italy, the musical centre of Europe at the time. Mozart was
indeed profoundly influenced by the experiences he gained on this tour;
among its fruits was inspiration for composition of his first opera seria,
Mitridate,RdiPonto.Thisoperawasperformedwithenormoussuccess
in Milan on 26 December 1770, and provided many people with an
awarenessoftheyoungMozartsgenius.

Don Giuseppe Ximenes, Prince of Aragon, heard of this success from his
residenceinPaduaandcommissionedMozarttocomposeanoratorio.Ina
letterwritteninVicenzaon13March1771,LeopoldstatesthatWolfgang
is about to embark on composition of an oratorio. The performance of
opera was prohibited in Catholic countries during the solemn Easter and
Lentseasons,andMozartappearstohavebeencommissionedtocompose
his oratorio for performance in the place of an opera during the Lent
season. Such was the background to the composition of the fifteenyear
oldMozartsthirdsacreddrama,LaBetuliaLiberata,orTheLiberationof
Bethulia.

AccordingtoaletterwhichLeopoldwrotefromSalzburgtoBolognainJuly
1771,WolfgangwastosubmittheworktoPaduainthecourseofasecond
ItaliantourscheduledtobegininAugust1771.Thisimpliesthatthework
hadalreadybeencompletedbythenHowever,forsomereasonorother,
there are no further references to performance of this work. It seems
possiblethatitwasnotinfactperformedduringMozartslifetime.Mozart
appearstohaveconsideredusingLaBetulialiberataonceagainin1785in
answer to a commission for an oratorio from the TonknstlerSociett in
Vienna.Thiswasatimewhenhewasfullyoccupiedwithconcertactivities
and had no time to write new theatrical music. Although he might have
donesoweretheperformancetohavetakenplaceinalargetheatre,he
felthimselfunabletosparethetimetocomposealargescaleworkfora
concert which would have brought him only the most negligible
recompense. He therefore had the score of this youthful oratorio sent
from Salzburg, but eventually abandoned his plan to have the work
performed.

Why did Mozart never again consider having La Betulia liberata

performed?Althoughonecandonomorethansurprise,hemaywellhave
considered that the work he composed when a mere stripling of fifteen
was no longer worthy of his consideration. Even more, he may have
considered the libretto to be completely outdated, not to mention the
musictowhichhesetthislibretto.Oneshouldbearinmindthatthiswas
the year before the composition of The Marriage of Figaro. Mozarts
eventual response to this Viennese commission involved the rewriting of
an unfinished Mass in c minor, K 417a, in the form of a cantata entitled
Daviddepenitente,K469.ItiseasytounderstandwhyMozartnolonger
wished to draw attention to La Betulia liberata when one listens to the
introspective,soulsearchingmusicofthislatercantata.

TheworkwhichMozartcomposedattheageoffifteen,LaBetulialiberata,
was based on a text by Giovanni Metastasio,whowas employed as poet
laureate in Vienna. Metastasio was one of the supreme exponents of
Italian drama, and his texts were used by many composers as libretti for
operas and oratorios. The text used here by Mozart was written by
Metastasioin1734onthecommandofEmperorKarlVI.LaBetulialiberata
isbasedonthestoryoftheBookofJudith,containedintheApocryphaof
the Bible. This storywas used by innumerable painters as subject matter
for their work owing to the attractive images it presents: a chaste,
beautifulandvaliantwoman,popularrevolt,wilystratagems,thevictoryof
justiceandfaith.

Indeed, the story includes all manner of dramatic elements, while its
centralthemeisthatofthespiritofdevoutfaith.Therecouldsurelybefew
subjectsmoreappropriatetoanoratoriowithastronglydramaticcontent.
Metastasios text follows the Bible closely in respect of both dramatis
personae and the unfurling of the tale itself. It is a text of the highest
quality which brings out the dramatic elements of the story, depicts the
psychology of the characters with moving lyricism, and generates a
powerful dynamism through its overall contrast between fast and slow
moving passages. It thus became a model for oratorio texts during the

eighteenthcentury.ThefirstcomposertosetMetastastiostextappearsto
havebeenGeorgReutter(17081772).Manyothercomposersthereafter
setthetexttomusic,andasmanyasthirtyworksemployingitappeared.

Various conventionshad to be observedby composers creating oratorios

forperformanceduringtheEasterandLetseasons.Thesubjectmatterhad
tobetakenfromtheOldTestament,andtheoratoriohadtoconsistoftwo
parts.Aworkwouldbestructuredtoconsistofrecitativesandarias.The
arias were in the dacapo style similar to that of opera seria, while the
recitatives might be accompanied by basso continuo or by a richly
expressive orchestral part. The chorus also played a significant role.
Metastasios text was structured ideally for the realisation of such
conventions.Oratorioswereconsideredtorepresentagenreofdramatic
musicwithoutstageprops,costumesandtheatricalgestures,althoughin
practice they appear to have been performed in many different styles
insidechurches.Theperformersdidinfactsometimeswearcostumes,and
some kind of basic dramatic presentation was often provided. There are
many extant oratorio texts and scores which specify dramatic techniques
andpropsverymuchinthemannerofanopera.

TheMusicofLaBetulialiberata
MozartsetMetastasiostextinthestyleofanItalianoperaseria.Themain
influenceunderlying theworkisthoughttohavecomefromtheGerman
composer Johann Adolph Hasse, the foremost practitioner of the
Neapolitan oratorio. But one should not belittle the astonishing intuitive
grasp of drama which Mozart shows here. The sense of overall dramatic
contrastandthecharacterisationareessentiallyproductsofMozartsown
giftsasanoperaticcomposer.Theworkbeginswithanoverturewhichis
followed by Part I, consisting of eight recitatives, eight arias and a final
chorus, and Part II, consisting of seven recitatives, six arias, and a final
chorus.

The music of the Overture is scored for an orchestra consisting of two

oboes,twobassoons,fourhorns,twotrumpets,firstviolins,secondviolins,
violas, and basses. The Overture is in the key of D minor throughout; it
beginsallegroin4/4time,thereaftermovingintoandantein3/4time,and
prestoin2/4time.

The work begins dynamically on the tonic in the key of a minor. The
powerful figure repeated at the outset by the violins and the detailed
figurations which appear soon after in the lowpitched instruments,
providethemainmotifsfortheworkasawhole.Botharehighlydynamic.
The central section is a lyrical one in which an attractive melody is
presentedmainlybythestrings.Themusicsuddenlyregainsitsdynamism
for the final section, which features the opening figure of the overture
presented in more concentrated form. The dynamism and strength seem
tobesymbolsforBethuliaandtheimminentcrisiswhichawaitsthecity.
This moods is blended with one of brightness, symbolic of hope for the
future.ThisisanoverturewiththatfreshnesswhichdistinguishesMozarts
earlywork.Letusnowtakeabrieflookatthemusicassociatedwitheach
ofthecharacters,centringontheariasections.

Itistheariaswhichplaythecentralroleinthiswork.Theyareessentially
da capo arias prefaced by recitatives, their respective quantity and scale
being determined in accordance with the relative importance of the
characters. Continuo accompaniment alone is generally used in the
recitativesections,althoughorchestralaccompanimentisalsoemployedin
severalspecialcases.

The central figure of the drama is Judith (Giuditta). The role of this
exceptionalwomanwhosavesthecityofBethuliaisgiventoacontralto.
Judith is a woman characterised by her sense of justice, faith, courage,
strength, and at the same by her chastity and introspective, modest
character. The contralto is obviously the vocal range most suited to the
portrayal of such features. Judiths arias, sung with great expression in a
verylowtessitura,fullyconveythiswomanscharacter.Judithscharacter
is immediately evident in her first aria (Aria No. 5, Del pari infeconda,
andante,Fmajor,3/4).Thebrighttonecoloursofthewoodwindssuggest
herwarmcharacter,whiletheimposingharmoniesinthirdsaresymbolic
of her courage. Especially worthy of mention is the recitative which
precedes this aria. Judith appears in the middle of a dialogue between

95010MozartCompleteEdition
48


Chabris and Amital, whereupon the orchestra takes over the
accompaniment from the continuo and the music expands in scale. This
effectmakesherappearanceallthemoreeffectivetthaniftheorchestra
had been used to provide the accompaniment form the start of the
recitative.

Inhersecondaria(AriaNo.8,Partoinermeenopavento,allegro,Gmajor,
4/4), Judith appears clad in lavish finery, her resolute spirit depicted
dramatically in the bold harmonies. Her third aria (Aria No. 12, Prigioner
chefaritorno,adagio,Dmajor,2/2,isprecededbyanextensiverecitative
with orchestral accompaniment in which the slaying of Holofernes is
portrayed.Heretoo,Judithfindsherselfinthecompanyofothers,butitis
herrecitativealonewhichisprovidedwithorchestralaccompaniment.The
ensuing and magnanimity which suggests the cooling of strong passions.
This manner of portrayal of Judith attains its zenith in the exchange
betweenJudithandthechoirinthefinalchorus(No.16,LodialgranDio,
andante, e minor, 4/4). Here, the hardspirited choir contrasts strongly
withtheattractivepresentationofthewarmthandgentilityofthisopulent
woman.

Amital, a noble Israelite woman, is portrayed by a soprano in a spirit of

brillianceandlightness.Mozartallocatesherthreearias.Thefirst(AriaNo.
3, Non hai cor, allegro, Eflat major, 4/4) emphasises Amitals deceptive
brilliance.ShecensuresOziasforseeminglyabandoningthelongsuffering
people,herrebukesbeingsymbolisedbysyncopatoryfiguresintheviolins.

Inhersecondaria(AriaNo.11,Quelnocchier,allegretto,Bflatmajor,4/4),
with a sharp tongue she likens the desperate Bethulia to a ship at the
mercy of a storm and the governor of the city to the ships captain. The
music at this stage is at its most descriptive anywhere in the work; the
ferocity of a shipwreck is portrayed musically in a highly skilled manner.
However,themostbeautifulandelegantmusicappearstowardstheend
ofPartII.Thisaria(AriaNo.14,Controppareavilt,andante,Emajor,2/2)
issimilarinmanyrespectstothefirstariainEflatmajor,althoughitisset
inthegentlerkeyofEmajor.Mozartsucceedsmagnificentlyinthesearias
inshowingthetransformationofAmitalsspiritfromoneofarroganceto
one of docility. The gentle accompaniment by strings alone, the tempo
wavering between adagio and andante, and the fluent melodies seem to
reflectAmitalsfriendlyspiritandgentlefeelings.Theadagiosection,Piet,
Signor pieta, features subtle orchestral nuances full of affection and
tenderness.

The fullbodied heaviness of Judith is beautifully coloured and

supplementedbyAmitalaswellasbythetenorroleofOzias,governorof
Bethulia. Ozias is also entrusted with four arias, and the most important
parts of the oratorio are all introduced by this character. In Aria No. 1
(Dognicolpa,allegroaperto,Bflatmajor,4/4)inPart1itisOziassdutyto
reassuretheinhabitantsofBethuliathatallisinorder.Inthissecondaria
(Aria No. 4, Piet se irato sei, adagio, c minor, 2/2, with chorus), Ozias
expresses his dismay that he will soon have to hand the city over to its
foes:amoodofpathosthuspervadesthewholearia.Thisariasymbolises
Ozias and his identification with his people. The pizzicati strings create a
particularly strong impression suggesting an attitude of prayer and
supplication.

Oziass third aria (Aria No. 6) is a repeat of Aria No. 4, the two arias
interspersedbytheappearanceofJudith.Thesingerthushastoperform
the same music twice. In the present performance, Ernesto Palacio, who
singstheroleofOzias,performsAriaNo.4inaspiritofpathosanddespair,
whileherendersAriaNo.6inamoodofoptimismanddecisiveness.The
fourth aria (Aria No. 10, Se Dio veder tu vuoi, andante, A major, 2/4) is
situated in the first half of Part II, conventionally the most important
section of a sacred drama. The development of the plot is here
interrupted: in the preceding recitative Mozart employs a manner of
development unique to the genre of the oratorio based on exchanges
betweenthecharactersontheologicalsubjects.Theensuingariaisfullof
brightandattractivemelodieswhichdemonstratetheunwaveringquality
ofOziasfaith.Thecoloraturafiguresareimbuedwithaspiritofpeaceand
tranquillity.

Achior,princeoftheAmmonites,issetinoppositiontoOzias.Mozartgives
twoariastothisbassrole.ThefirstisAriaNo.7(Terribledaspetto,allegro,
C major, 4/4) describes Holoferness awful cruelty by means of
tempestuousmotioninthestringsandwildscalarmovement.Theterroris
emphasised by the very absence of Holofernes. Achior believes only in
Nebuchadnezzar,notinJehovah,thegodofAbraham,inconsequenceof
whichhesingsinamannerfullofanger,anxiety,andvacillation.However,
hesingshissecondaria(AriaNo.13,Tesoloadoro,andante,Fmajor)after
coming into contact with Judiths faith; in this aria he sings of his
conversion to worship of the one and only God of Abraham. The second
aria is one of formal simplicity, although it abounds with forceful music
noteworthy especially for its impressive bass line and confident rhythm.
Mozart intends this music to express spiritual transformation in the
mannerofAmitalsowntransformation.Thementalchangesundergoneby
the two characters Amital and Achior may well be considered to be the
focalpointsofthisoratorio.

OneariaeachisallocatedtothetwocharactersChabrisandCharmis,who
arerulersofBethuliatogetherwithOzias.InChabrissaria(AriaNo.2,Ma
quelvirt,moderato,gminor,6/8)Mozartemploysthestringstotransmit
a mood of unrest and doubt which conveys the vacillations of Chabriss
spiritandhisconcernforthedoomedcityofBethulia.Charmisinhisaria
(AriaNo.15,Queimotichesenti,allegro,eminor)describesinarestless
mannertheroutoftheenemy.Thesetwoariasarebothintheminor,the
tonality which Mozart considered most suited to the expression of
unstableemotions.

The choral writing centres entirely around simple harmonic progressions.

The final chorus, in particular at its climax, is composed in a manner
suggestive of the chorale writing in Bachs cantatas.With their extremely
simple motion, the choral parts are sandwiched concisely but solidly
between the orchestra and the soloists, thereby tightening the overall
form and structure of the work.Mozarts use of this compositional
technique in the finale results in the music ending on a tone of religious
severity.

CharactersandPlot
Time:ReignofNebuchadnezzar,kingoftheAssyrians.
Place:IsraelitecityofBethulia.
Dramatispersonae:GIUDITTA(Judith),awidowfromBethuliaALTO
AMITAL,anobleIsraelitewomanfromBethuliaSOPRANO
OZIA(Ozias),governorofBethuliaTENOR
ACHIOR,princeoftheAmmonitesBASS
CABRI(Chabris),aelderofBethuliaSOPRANO
CARMI(Charmis),anelderofBethuliaSOPRANO
ThepeopleofBethuliaCHORUS

Nebuchadnezzar, king of the Assyrians at Nineveh, conducted an

aggressivecampaign,attackingneighbouringpeoplesinanattempttogain
control over the widest possible area. He therefore sent Holofernes,
captain of his host, to attack the city of Bethulia, home of the Israelites.
Holofernessurroundedthecityandcapturedthefountainwhichsupplied
it with water. Deprived of their source of water, the people of Bethulia
begantodieofthirstandlosetheirresolvetocontinuethestruggle.

PartIoftheoratorioopenstothistragicbackgroundwithOziasaddressing
thecitizenstoexpatiateonthevalueoffaith,hope,andlove(AriaNo.1).
However, Chabris and Charmis point out that the people are already
severely weakened, to which Ozias implores God for his aid. The noble
IsraelitewomanAmitalgoestoOziastopersuadehimtosurrendertothe
foeandhandoverthecityanditspeople;atleastsurvivalwillbepossibleif
the gates are opened (Aria No. 3). The citizens support her, but Ozias
replies by asking that a final decisiononsurrender be postponed forfive
days.Hearing how events are progressing, Judith comes on to the scene.
She is the beautiful widow of Manasses, for whom she has been in
mourning for five years.With her reputations a woman of devout faith,
Judithberatesthepeoplefortheircowardiceandproposesherownplan
to deal with the citys plight. She begs the people meanwhile to await
divine assistance (Aria No. 5.). Judiths appeal strikes a responsive chord
amongthepeople,whoentrustherwiththefateofthecity.Charmisthen
appearstoannouncethathehasfoundoneoftheenemies,Achior,prince

95010MozartCompleteEdition
49


oftheAmmonites,boundandrejectedbyhiscomrades.Achiorhadbeen
banished for having dared to suggest to Holofernes that the people of
BethuliawouldbevictoriousiftheyremainedfaithfultoGod.Judith,who
haddisappearedfromthesceneforsometime,thenreappears.However,
thistimesheisnolongercladinwidowsweedsbutinmagnificentfinery
andstronglyperfumed.Shesaysvaliantlythatsheisgoingtoleavethecity
unarmed(AriaNo.8).ThismarkstheendofPartI.

Part II begins after Judiths departure with Ozias and Achior debating
points of theology. Ozias, who places his faith in the almighty Jehova,
describes the true nature of God to the heathen Achior. Amital then
appearsand,notunderstandingwhatisoccurring,becomesangeredatthe
passageofevents(AriaNo.11).Judithreturnsaccompaniedbytheexcited
voices of the people. She gives a detailed description of how she has
managed to slay Holofernes. She had entered the enemy camp and used
herbeautytogetHolofernestorelaxhisguard.Hehadfallenasleepinan
intoxicated stupor, whereupon Judith had decapitated him. She accepts
the heathen Achior into the Bethulian camp (Aria No. 12). Achior is
overwhelmedbyJudithsspiritualfortitudeanddeclareshisconversionto
the God of Abraham (Aria No. 13). Amital is ashamed at her previous
exhibition of cowardice (Aria No. 14). Charmis announces that with loud
moaning and wailing the forces of Holofernes have withdrawn and the
enemyisnomore(AriaNo.15).Bethuliahasbeensaved.Thepeopleextol
Judith,whorepliesbysayingthatGodhasbeenthetruesaviouranditis
Godalonetowhompraisesshouldbeoffered.TheBethuliansthusdirect
theirpraisestotheAlmightly(ChorusNo.16).

CANONS(CD118)
Like many composers of his era, Mozart participated in the venerable
practiceofwritingcanons,fortwopurposesthatwerelongestablishedby
tradition:exercisesincounterpoint(thesearemainlyinstrumentalcanons)
orvocalcanonsrounds,infactforsingingincompanyindomesticand
other convivial surroundings; these might be lyrical or humorous
depending on the text. Such activity went back to the Renaissance itself
and was still practised in the later 19th century by Brahms (and even by
Schoenberg in the 20th). While Mozarts canons, being tiny occasional
compositions, are hardly of great significance in his output, they are
accomplished,sometimesverywittyandalwaysenjoyable.

In the academic and church traditions, canonic writingwas associated by

18thcenturypedagogueswithacquiringtheskillinimitativecounterpoint,
whichwaspartofthesocalledGoldenAgestylethattheyattributedto
Palestrina and his followers. Academic study of this kind of counterpoint
wasmainlycarriedoutinItaly,andthisinturnhadaprofoundinfluenceon
the musical traditions of the Hofkapelle in Vienna, where Johann Joseph
Fux, one of the greatest exponents and theorists of the imitative
contrapuntalidiom,spentmostofhisprofessionallife.Mozartsfourpart
Canonfor2violins,violaandbassinCmajorK191,ofuncertaindatebut
probably written in Vienna, seems to be an exercise in this vein. Mozart
however spent some months studying counterpoint in Italy itself, with
PadreMartini,whomheneverceasedtorevere,andsomeofhisearliest
canons are undoubtedly the fruits of that study. Later, of course, the
amazing polyphonic fluency of his established style stood him in good
stead whenever he wrote a canon or round. The existence of sketch
material for quite a few of the canons shows that they were not simply
dashed off as trifles, but seriously considered as compositions, however
small.

Evidence that Mozart continued to regard canon and imitative

contrapuntal study as one of the prime tools through which to acquire
compositionalskillisshownbytheexperienceofhisEnglishpupilThomas
Attwood,whohadlessonsfromMozartinthesummerof1785.Attwoods
notebooksincludeseveralcanonsbyMozart,includingK507andK508,and
canons composed under Mozarts guidance. Among these are the 14
canonsofK508a,clearlypreparedasstudymaterial,astheyaremadeup
of a pair of canons at each interval from the unison to the seventh.
Sometimesthesepieceswerecomposedwithouttext,aspuremusic,and
a text usually Mozarts own was only added later, when they were
printed.Orthepublisherwouldgivethecanonadifferenttextiftheyfelt
theoriginalwaslikelytooffend.Canonsfordomesticperformance,being

an altogether more social music, were often freer and more popular in
style, but even some of them refer to the stile antico of the Italian
Renaissance and Baroque. Inevitably, there are also a few canons whose
attributiontoMozartis,atbest,doubtful.ThecanonscollectedonthisCD
illustratealltheseaspects.

Thereislittleornothingtobesaidofsomeitemsinthisanthology,except
thattheyareofcourselittlegems,butsomesparseinformationaboutthe
othersmaybeofinterest.Theearliestoftheseworksareprobablythefine
fivepartKyrieK89andtheLatintextedpuzzlecanonsofK89a,whichrange
from between two to nine voices and are believed to date from 1772,
whileMozartwasstudyingwithMartiniinBologna.(Thepuzzlecanonsare
written as a single voice, with only the other voices points of entry
indicated.Thepuzzle,fortheperformerstoworkout,isthetransposition
atwhichtheirownpartswillwork.)ThecanononDonanobispacemK109
is part of a set of 14 canonic studies that probably belongs to this time
also,anditexistsintwoformsonewiththeLatintext,theotherwitha
Germantext(SinktdieNacht)mostprobablybyMozarthimself.

ThecanonsofK228230belongtoagroupofcanonsprobablywrittenin
Vienna in 1782, as party pieces for friends; the texts (by Ludwig Hlty)
were added by the publishers. In 1799, eight years after Mozarts death,
hiswidowConstanzesentthemanuscriptsoftheseandsomeothercanons
to the publishers Breitkopf & Hrtel, saying that they would need to be
adapted for publication. Only the first words of Mozarts original texts
weredocumentedinBreitkopfscatalogueofhisworks.Likewisethethree
partcanonK234,ofaboutthesameperiod,originallyhadatextbyMozart,
BeiderHitzimSommeressich,anditwasBreitkopfwhosubstitutedthe
present Essen, trinken. Of the same general period but more ambitious
thananyoftheseisVamodicoreK348,whichisin12parts(anda16part
version also exists). The Adagio in F major K410, constructed as a three
partcanonfortwobassetthornsandbassoon,isanexampleofMozarts
Masonicritualmusic.Thoughonly27barslong,ithasanaustere,solemn
beautyandwasprobablyintendedforuseinaMasonicritualprocession.
Analysisofthepaperonwhichitwaswrittensuggeststhisworktoodates
from1782.

A greeting to friends, the 4part G major canon Lieber Friestdtler, lieber

GalimauliK232,despitethecomparativelyearlyKchelnumber,isactually
quitealatework,writteninViennaaboutJuly1787.Intheperiodof1786
88Mozartwroteagroupofabouttencanonsinseverallanguages(Italian,
German, Latin and more), all of which he entered in his own work
catalogue with the date 2 September 1788. They include the sweet Ave
MariainFmajorK554,thefourpartLacrimososonioinAminorK555,the
GmajorGrechteltsenkK556,thefourpartNascosoeilmiosolinFminor
K557andthealmostoperaticCarobellidolmioK562,athreepartcanonin
A major. The threepart F major Difficile lectu mihi mars K559 (on which
seemorebelow),theconvivialandechtVienneseGehnwirimPraterK558,
and the multilingual, scatological A major canon Bona nox! bist a rechta
OxK561alsofeature.

ThetwocanonstothetextLeckmirdenArsch,bothinBflatandoneof
them in six parts, set us a different sortof puzzle.The ribald title phrase
(Lickmyarse)isanobviousallusiontothelineErkannmichimArsche
lecken! which had appeared to the scandal of critics in Goethes
famous historical drama of Gtz von Berlichingen (1773), and had since
passedintogeneralcurrencyasavulgarexpressionofcontempt.Bothof
thecanonswereamongthosetentativelydatedto1782thatwerepassed
to Breitkopf by Constanze Mozart in 1799. K231 seems to be authentic
Mozart (though doubts linger), and the publisher changed the title and
lyricsofthiscanontothemoreacceptableLasstfrohunssein(Letusbe
glad!),alongthelinesofthetraditionalGermanChristmascarolLasstuns
froh und munter sein. Various alternative texts survive, entered by
apparently knowledgeable hands into printed copies. K233, however,
which has the slightly different text Leckmir den Arsch rechtschon (Lick
my arse nicely) is now believed not to be by Mozart but by his
contemporaryWenzelTrncka(17311791).

A pendant to these two Leck mir canons may be found in Difficile lectu
K559. The text Difficile lectumihimars et jonicu difficile appears to be in
Latin,butthehumouroftheworkconsistsofhearingthesewordsinstead

95010MozartCompleteEdition
50


as vulgar phrases of German and Italian. Thus the first part of the lyric,
sunginthestrongBavarianaccentofthesingerJohannNepomukPeyerl,
whowasprobablytheleadsingerinthefirstperformance,resemblesLeck
dumiimArsch.ThesecondpuninthecanonisbasedonthesingleLatin
wordjonicu,whichwhensungrepeatedlyandrapidlyisliabletobeheard
rearranged as a taboo word of Italian cujoni, which means testicles. It is
said that it wasfor the first performance of Difficile lectu that Mozart, in
derisionof Peyerl, composed the canon O du eselhafter Peierl K560a, (O
Peyerl,youass)whichwasinFmajor.Thisisrepresentedinthepresent
collectionbyalaterversioninGmajor,OdueselhafterMartinK560b.
MalcomMacDonald

APOLLOETHYACINTHUS(CD127128)
LibrettoFatherRufinusWidl,partlydrawnfromOvidsMetamorphoses
13 May, Wednesday. In the morning short schools on account of
phlebotomy.AfterdinnerwasgiventheSyntaxistscomedywrittenbythe
VeryReverendProfessor,andbydesireperformedbyhisstudents,which
gavemethegreatestpleasure.IcongratulatetheProfessoronthepublic
applause.Themusicforit,composedbyWolfgangMozart,ayoungsterof
eleven,delightedeverybody,andatnighthegaveusnotableproofsofhis
musical art at the harpsichord. So read the minutes for the Salzburg
Gymnasium, marking the success of the traditional endofterm student
drama. Mozart, of course, was never astudent there; all of his schooling
was provided by his father, Leopold. But he was familiar with the
university.Asa6yearold,hehadappearedasanextrainitsproductionof
theLatindramaSigimundusHungariaeRex.

Sincethen,Mozartandhisfamilyhadcompletedtheirgrandtour.During
his threeandahalf year absence from Salzburg, his musical ability had
beencelebratedalloverEurope.Soitwasonlynaturalthattheuniversity
wouldawardhimanimportantlocalcommission.

The text was provided by Father Rufinus Widl, professorof syntax at the
university.HewroteaLatintragedy,ClementiaCroesi,tobeperformedby
his students. He also wrote a Latin intermedio, Apollo et Hyacinthus seu
Hyacinthi Metamorphosis, to be performed between the acts of the
spoken drama.Widl borrowed his story for Apollo t Hyacinthus from a
passage of Ovids Metamorphoses. Here is how Ovid tells it: The god
Apollo,alsoknownasPhoebus,waspassionatelyfondofhiscompanion,
aSpartanyouthnamedHyacinthus.Onedaytheywenttocompeteatthe
discus: Phoebus was first; and when he poised and cast, The mounting
metal through the cloud bank passed, And falling back to earth, though
long delayed, Revealed what strength could do, with skill to aid. Then
Hyacinthus, on his turn intent, To take the discus up too hasty
went:Rebounding from the rocklike ground, it rose, And struck his face:
downinaheaphegoes.TraditionaddsthatHyacinthuswasnotkilledby
accident: He was murdered by Zephyrus, the West Wind, who alsoloved
ApolloandwasjealousofHyacinthus.Zephyrusblewthediscusoffcourse
andintoHyacinthusface.Thewoundwasfataland,tryashemight,Apollo
could not save his friend from dying. In order that he might be
remembered, Apollo caused him to be transformed into a flower, the
hyacinth.

ConvertingOvidsstoryofApolloandHyacinthusintoaboysschoolmusic
dramamusthavebeenproblematic,atbest.ButthegoodFatherWidlwas
not deterred. To disguise its overtly homosexual theme he introduced
several new characters, including Melia, sister of Hyacinthus, who could
nowconvenientlyserveasthesubjectofApolloandZephyrusaffections.
(Ironically, because there were nofemale students at the university, that
character would have to be sung by a boy.) Modern audiences probably
would not appreciate the practice of inserting parts of a music drama
betweentheactsofaspokendrama.Foronething,itaddedmorethanan
hourtothelengthoftheproduction.Butpeoplein18thcenturySalzburg
musthaveexpectedafulleveningsentertainmentand,besides,Mozarts
music may have provided welcome relief from the dry text of Clementia
Croesi.

CAST
Oebalus,KingofLacedaemonia(tenor)
Melia,daughterofOebalus(soprano)
Hyacinthus,sonofOebalus(soprano)
Apollo(alto)
Zephyrus,friendofHyacinthus(alto)
TwopriestsofApollo(bass)
Synopsis:ThesettingisinancientGreece.

SYNOPSIS
ActI
The intermedeo opens with a short recitative. Oebalus and his son,
Hyacinthus,arepreparinganofferingtothegodApollo.Zephyrus,whois
nofriendofApollo,arguesthatsacrificesshouldbemadetoothergodsas
well. Zephyrus words anger Apollo, and even a brief chorus sung in the
gods honor does not satisfy him. He sends a thunderbolt to spill the
sacrificialwine,extinguishthefireandscattereveryonewhohasgathered
there. Hyacinthus, however, is not alarmed: The gods, he sings, become
attached to humans, whilst conserving their authority, through both
gentleness and threat. Apollo suddenly appears in the guise of a
shepherd. He identifies himself and declares that he wishes to marry
Hyacinthus sister, Melia. Alas! cries Zephyrus, Apollo thus robs me of
theoneIlove!

ActII
Oebalus and Melia express their happinessover their good fortune. Our
homewillbeoneofgods,saydOebalus.WhenMeliaaskswhereApollo
has gone, herepliesthat he is playing discus in the field withHyacinthus
and Zephyrus. Zephyrus returns with terrible news: Hyacinthus has been
struckandkilledbyadiscusthatwasthrownbyApollo.Oebalusdepartsto
find his son. In an aside, Zephyrus admits that he is the one who killed
Hyacinthus.When Apollo appears the god is so angry that he causes
Zephyrus to be borne away by the wind. But Melia is not convinced of
Apollosinnocenceand,inaduetthatisoneoftheworkshighpoints,bids
himtoleaveandneverreturn.

ActIII
Oebalus find his son, still alive, on the banks of the Eurotas. Before he
breatheshislast,HyacinthustellshisfatherthatZephyrusistheonewho
threwthediscus.MeliaarriveswiththenewsthatshehasorderedApollo
to leave the kingdom. After Oebalus explains that Zephyrus killed her
brother,theybecomefearfulthattheyhavepermanentlyoffendedApollo,
onwhoseprotectionthekingdomdepends.Alas!Whatadisastrousday!
TheysingaduetthatCharlesOsbornecallsperhapsthefinestnumberin
the score, expressive and imaginatively scored. Their worries are
unfounded.Apollo,drawnbackoutofloveforHyacinthus,returnsand
causeshisfriendtobetransformedintoaflower.HeforgivesOebalus,and
assuresMeliaofhislove.ThekinggrantsApolloMeliashandinmarriage;
allthreeexpresstheirjoyinaconcludingtrio.

BASTIENUNDBASTIENNE(CD129)
Libretto: Friedrich Wilhelm Weiskern, Johann H. F. Mller und Johann
AndreasSchachtner(Singingpartsonly)
Premire:probablyinAntonMesmersresidence,Vienna,September1768

CAST
Bastienneashepherd,soprano
Bastienherlover,tenor
Colasamagician,bass

SYNOPSIS
The action takes place in a village, looking out upon open meadows.
Bastienne, a shepherdess, fears that her dearest friend, Bastien, has
forsakenherforanotherprettyface,anddecidestogointothepastureto
be comforted by her flock of lambs. But her departure is interrupted by
Colas, the village soothsayer, who arrives to the sound of bagpipes.
Bastienneaskshimtousehismagicartstohelpsolveherproblem.Colas,
ofcourse,isawareofBastiennesplightandreassuresherthatherBastien
isnotbeingunfaithful:Hisheadhasbeentemporarilyturnedbythelady
ofthemanor.HeadvisesBastiennetofeignindifference;ifshedoesthat,

95010MozartCompleteEdition
51


Bastienwillreturn.TheyhearBastienapproaching,soBastiennehides.He
entersconfidently,loudlydeclaringhisloveforBastienne.Colasstopshim
coldwiththenewsthathestoolate:Bastiennehasfoundanotherlover.
Bastienisdumbfounded.Howcanhewinherback?Colasconsultshisbook
ofmagicandfindsthefollowingspell:Diggi,daggi,shurry,murry,horum,
harum, lirum, larum, rowdy, mowdy, giri, gari, posito, besti, basti, saron
froh, fatto, matto, quid pro quo. He assures Bastien that the spell has
takeneffectandallhisproblemsaresolved.Joyfully,Bastiensearchesfor
Bastienne. But Bastienne decides to give Bastien his comeuppance, and
playsherpartofthespurnedlovertothehilt.Infact,sheplaysthepartso
wellthatBastienthreatenstoreturntotheladyinthemanor.Noproblem,
Bastienneretorts:Sheherselfcaneasilyfindadmirersinthetown.Bastien
hintsatsuicide.Haveagoodtime!sheresponds.Hethreatenstodrown
himself.Enjoyyourcoldbath!Butherehehesitates,admittingthathes
abadswimmer.Butbynowtheloverstiffhasplayeditselfout.Thepair,
reconciled,isjoinedbyColasandtheyallsingthemagicianspraisesina
finalchorus.

LAFINTASEMPLICE(CD130132)
SYNOPSIS
ActI
Fracasso and Simone have been visiting two welltodo but eccentric
brothers, Don Cassandro and Don Polidoro, at their estate. They discuss
thebrotherswiththeirsister,Giacinta,andhermaid,Ninetta.Cassandro,it
turnsout,isamiserandawomanhater.Polidoro,theyoungerofthetwo,
is a simpleton. Fracasso would like to marry Giacinta, but first he must
obtain permission from Cassandro, whose bluff, blustering personality
intimidates almost everyone. Ninetta suggests an indirect approach:
Permission might be more easily extracted from Cassandro if he himself
were to fall in love. The object of his attention, she suggests, could be
Fracassossister,Rosina,whoisduetoarriveatanymoment.Thefourgo
off to work out the details of their plan. Cassandro protests to Fracasso
whenhelearnsofRosinasimpendingvisit,andletsonthathesheardthat
Rosina is simpleminded. Unlike his brother, Polidoro desires a wife. So
when Rosina arrives, he wastes no timeand asks Rosina tomarry him at
once.Rosinademurs.IfPolidorowantstowooher,shesays,itmustbein
the French way: First, there must be a visit; then a note; then a gift.
When Cassandro comes to pay his respects, he decides to see just how
simpleRosinais.Heaskswhetherheshouldspeakinverseorprose.Oh
dear! she replies. Neither! Despite this inauspicious beginning,
Cassandroissmittenandverynearlygivesherhisprizeddiamondringasa
keepsake.RosinaconfidestoFracassoandNinettathatshewillmarrythe
brotherwhopleasesherthemost.PolidoroaccostsRosinainherroom:He
hastherequirednoteandgift,andwishestopropose.Rosina,shockedto
find him there, spurns his advances and takes advantage of Cassandros
entrance by asking again for his ring. Cassandro reluctantly parts with it,
andinviteseveryonetostayfordinner.Thatway,hecankeepaneyeon
thering.

ActII
Simone and Ninetta wait while the others have dinner. Giacinta appears
withthenewsthatCassandroandFracassohaveimbibedtoomuchwine
and are at each others throats. Simone goes to break up the fight.
PolidoroagainattemptstoproposetoRosinabut,beforehehasachance,
Cassandroentersandchaseshimoff.RosinarefusestotalktoCassandro
because he stinks of wine. If he wishes to communicate, she says, he
mustsitontheoppositesideoftheroomandusesignlanguage.Hedoes.
She replies with arbitrary gestures that mean nothing. He signs that he
wants her to marry him; she makes signs at random in return. The wine
finallygoestoCassandrosheadandhefallsasleep.Rosinaplacesthering
back on his finger; he wakes up. In response to his questions, she insists
thatshelovesbothhimandPolidoroequally,thenleaves.Fracassoenters,
andheandCassandrorenewtheirargument.Thistimeitescalatesintoa
duel. Cassandro is clearly frightened and complains that he is at a
disadvantage:Thesunisinhiseyes,thewindisinhisface,andhisswordis
theshorterofthetwo.Fracassochangessidesandtradesweapons,butto
noavail.Cassandrorunsaway.RosinareturnstotellFracassothatshewill
marry Cassandro. Fracasso, for his part, is delighted to discover that
CassandroisafraidofhimanddeclaresthathewillmarryGiacintaatthe
firstopportunity.Totalconfusionbecomestheorderoftheday.Cassandro

returns, pursuing his brother with a stick. Rosina pretends to faint.

Everyone is brought up short when Fracasso enters and announces that
Giacintahasrunawaywiththebrothersfortune.Fracassoofferstopursue
her,foraprice:Ifhefindsher,thebrothersmustlethimtakeherashis
bride.Theyagree,andasfurtherincentivetheyofferthemoneyGiacinta
hastakenasherdowry.ThenSimonebringsmorebadnews:Ninettahas
absconded with the remaining household valuables. Rosina suggests that
the person who finds her should be allowed to marry her. The brothers
agree, and Simone gallantly volunteers. He and Fracasso exit. Those
remainingbringtheacttoaclosewitharousingchorus.

ActIII
It doesnt take long for everything to get sorted out during this act, the
shortest of the opera. Simone and Fracasso go to Ninetta and Giacinta
who,ofcourse,havenotrunawaybutarejustplayingouttheirpartofthe
plan.Meanwhile,RosinatellsCassandrothatshewillmarryhim;together
theyteasepoorPolidoro,whoarrivestomakeonelaststabataproposal.
Oh, what a bridegroom! they laugh. Boohoo! Polidoro cries. Simone,
Ninetta, Fracasso and Giacinta join Cassandro and Rosina, and together
theywrapeverythingupwithafinalchorus.

MITRIDATE,RDIPONTO(CD133135)
CAST
Mitridate,RdiPonto
Aspasia,promessasposadiMitridate
Sifare,figliuolodiMitridate
Farnace,primofigliuolodiMitridate
Ismene,figliadelRdeiParti
Marzio,tribunoromano
Arbate,governatorediNinfea

SYNOPSIS
ActI
The (feigned) death of Mitridate has just been announced. Arbate, the
governorofNymphea,handsthekeysofthecitytoMitridatesson,Sifare.
SifareconfesseshisloveforAspasia,promisedtoMitridate,andhisdisgust
ofhisbrother,Farnace.AspasiaseeksSifaresprotectionfromFarnacewho
hasstatedhisintentionofmarryingherwithoutdelay.Sifarecannothide
hisloveforAspasiaandsheaskshimtobepatientandprotecther,filling
himwithhope.

Farnace arrives and the two brothers quarrel. They are broken up by
Arbate, who brings news of Mitridates return. Farnace attempts to gain
his brothers help in opposing Mitridate by force. Sifare refuses. Farnace
tells the Roman tribune Marzio of his hatred of his father, Mitridate. He
eagerlyawaitsthearrivaloftroopsfromRomewhowillhelphimusurphis
fathersthrone.

Mitridate arrives, accompanied by Ismene, daughter of the King of the

Parthians. He announces a new alliance, to be sealed by the marriage of
FarnacetoIsmene.FarnacesreactionmakesMitridatesuspicious,andhe
questions Arbate about his sons reactions to the news of his feigned
death. Arbate admits that Farnace proclaimed himself king and of his
intention of marrying Aspasia. Arbate speaks of Sifares fidelity and
courage.Leftalone,theKingrejoicesthathisfavouritesonhasremained
true,whilstswearingrevengeuponFarnace.

ActII
Ismene reproaches Farnace for his infidelity. Mitridate summons Aspasia
andannouncesthattheirmarriagewillbecelebratedthatveryday.Alone,
SifareandAspasiadeclaretheirmutuallove.Arbatearrivesandannounces
thatMitridateisdemandinghissonsattendanceathiscamp.Tormented
bytheconflictbetweendutyandherloveAspasiaasksSifaretostayaway.
MitridateannounceshisintentionofgoingintobattleagainsttheRomans.
Farnace tries to persuade his father that the Romans want peace and
convinced of his sons treachery, Mitridate has Famace imprisoned.
Famace then reveals that Sifare and Aspasia love each other.Mitridate
decidestotestAspasia.Hetellsherthatheisgivingherupanddrivento
herlimits,Aspasiaconfesses.Incensed,Mitridatevowsthatsheandboth

95010MozartCompleteEdition
52


hissonsshalldie.AspasiabegsSifaretokillheraspunishmentbutSifare
tellshertopetitiontheKingformercy.Sherefuses.

ActIII
Mitridateisbenton revenge.Ismeneadviseshimtoexpresshimselfasa
lover rather than a ruler. Mitridate again proposes marriage to Aspasia.
She rejects him, offering her life in exchange for a pardon for Sifare.
Mitridateresolvestokillthemboth.Atthatmoment,Arbatearriveswith
news of the disembarkation of the Roman fleet. Aspasia decides to kill
herselfbutSifarepreventsher.Heaskshertoawaithisreturnandgoesto
join his father against the Romans. Famace is in prison, when Marzio,
accompanied by Roman soldiers, arrives to set him free. Marzio tells
Famace the route of Mitridate and promises him the throne. Left alone,
Famaceisovercomewithremorseanddecidestoacthonourably.Fatally
wounded,MitridatecallsSifaretohissideandthankshimforhisbravery
and loyalty and commends Aspasia to him. Ismene enters and brings the
newsthatitsFarnacewhosetfiretotheRomanFleet.Mitridatepardons
him and dies. Sifare, Aspasia, Farnace, Ismene and Arbate proclaim their
intentiontofighttogetheragainsttheRomans.

ASCANIOINALBA(CD136138)
SYNOPSIS
ActI
The opening scene introduces Venus and Ascanio, the son she had by
Aeneas.ThegoddessvauntsthecharmsofAlbaandinviteshersontogo
andrulethere.SheurgeshimnottorevealhisidentitytoSilvia,anymph
to whom he is betrothed, but to introduce himself to her under a false
identitytotesthervirtue.Whileshepherdssummontheirpromisedruler,
FaunorevealsthatthesmilingfaceofAceste,apriest,isasignthattheday
will be a day of supreme happiness. Obeying the goddess, Ascanio
pretends to be aforeigner attracted by the beauties of the place. Aceste
tellstheshepherdsthattheirvalleywillbethesiteofafinecityandthat
theywillhaveasovereign,Ascanio,beforethedayisout.Healsoinforms
Silvia that she will be Ascanios bride, but she replies that she is in love
withayoungmanshehasseeninadream.Thepriestreassuresher,saying
theyoungmaninhercanbenoneotherthanAscanio.Venusthenappears
toAscanioandaskshimtottestthegirlalittlelongerbeforerevealinghis
trueidentity.

ActII
AscaniospotsSilviaamongtheshepherdsandtriestotalktoher.Thegirl
immediatelyrecognizestheyoungmanfromherdreams.Faunointervenes
and suggests to the foreigner (Ascanio) that he should go off and
announce the building of Alba in foreign parts. Convinced that the
foreigner is not Ascanio, Silvia runs off declaring she will never marry
anyoneelse.AcesteconsolesSilvia,sayingthathertribulationsareabout
tocometoanend.Venusisinvokedbyanmagnificentchorus.Silviaand
Ascanio add their voices to the chorus and the goddess descends on her
chariot surrounded by clouds. Venus unites the two lovers and explains
howshehadintendedhersontodiscoverthevirtueofhisfiance.Aceste
pronounces an oath of fidelity and loyalty to Venus, who then retires. It
onlyremainsforAscaniotoperpetuatetheraceofAeneasandguidethe
cityofAlbatoprosperity.

ILSOGNODISCIPIONE(CD139140)
SYNOPSIS
PartI
Fortuna and Constanza approach the sleeping Scipio and offer to
accompany him through life. However, first has to choose between
Fortuna, the provider of the worlds good things he, and reliable,
trustworthy Constanza. Scipio asks for time to think. Neither in his heart
normindcanhetakeinwhathashappened,norcanhechoose.Fortuna
andConstanzapermithimtoaskquestions:hewantstoknowwhereheis.
HefellasleepinthekingdomofMassinissa,butnowhasnoideaofwhere
heis.FortunatellshimthatheisintheTempleofHeaven.Themagnificent
lights are the stars against the blue background of the universe. He can
hearthemusicoftheharmonyofthespheres.Scipioaskswhocreatesthis
harmony. Constanza replies that the power behind it moves the spheres
like strings on a zither, finely tuned by hand and ear. Scipio responds by

askingwhythissoundisinaudibletomortalsonearth.Constanzaexplains
thatthisisduetotheinadequacyoftheirsenses;lookingatthesun,they
see only the glare, whilst hearing a waterfall, they know nothing of its
destructive power. Scipio then asks who dwells in this eternal world.
Fortunaindicatesanapproachingcortegeheroes,hisforefathers,Romes
greatest sons. Scipio sees the dead Publius and asks if dead heroes live
here.Publiusassureshimthatthelightofimmortalityresurrectsthebody,
freeingitfromtheburdenofmortality.Hewhohasthoughtof,feltforand
devotedhimselftootherswillliveforever;thosewhohavelivedonlyfor
themselvesarenotdeservingofimmortality.Scipiogoestoseekhisfather.
Heisdelightedtofindhim,butsurprisedwhenitappearsthatthisjoyis
not mutual. His father Emilio tells him that joy in heaven is complete,
because it is not accompanied by suffering; he points to the Earth, small
andmiserableandcoveredincloud,thehomeofmadmisguidedpeople,
indifferenttootherspain.AghastatthesightoftheEarth,Scipiobegshis
fathertobeallowedtoremainintheeternalland.However,heistoldby
Publius that he has a great mission to complete on Earth to destroy an
enemy,aftermakinghischoicebetweenConstanzaandFortuna.

PartII
ScipioasksFortunawhatkindofhelpshecanofferhimincompletinghis
task. She tells him of her power to destroy and create, to corrupt
innocenceandempowerevil.Whocanresisther?Constanzasaysthatonly
shecan,thepowerofloyalty.Fortunacannotgobeyondthelimitsdictated
byConstanza.Virtuecanonlyoccasionallybedefeatedbyviolence,while
evil deeds, unlike good ones, are transient. Fortuna can manage rare
strikes,butcannotdepriveheroesofhopeandfaith.ThusScipiochooses
Constanza,bravingFortunasangerunafraid,becausetheeternalkingdom
isdearertohisheart.Fortuna,furious,callsplaguesdownasvengeanceon
Scipio.Hehoweverkeepshiscouragethroughafoulstorm.Hereawakesin
thekingdomofMassinissa,feelingthepresenceofConstanzabesidehim.
The moral behind his dream was a hymn of praise to the eternal virtues
offered by heaven, a model for all thosewho believe inGod.In the final
sceneLicenzapraisesScipioschoice.

LUCIOSILLA(CD141143)
SYNOPSIS
ActI
Cecilio, a Roman senator, once exiled by Lucio Silla, returns to his
homeland to join his beloved Giunia. He is told by his friend Cinna,
however, that she is the betrothed of Lucio Silla, now dictator of the
country. Convinced that her beloved, like her father, had died at the
dictatorshand,Giuniamournsforhim.ShecompletelyrejectsLucioSillas
advances, telling him openly that she will never marry the tyrant behind
thedeathsofherfatherandfiance.Onherdailyvisittoherfathersgrave,
sheencountersCecilio.

ActII
Aufidio,aRomantribune,advisesLucioSillatotrytoenlistthesupportof
the Roman Senate in his attempt to marry Giunia. He believe that the
stubborngirlwillyieldunderthepressureofthesenatorsandthewillof
thepeople.LucioSillawantstosecurethesupportofCelia;inordertodo
sohepromisesherthehandofherbelovedCinna.Cecilioisdeterminedto
killLucioSillaimmediatelybutCinnaholdshimback,arguingthatprudence
is required so as not to risk death before having taken revenge. In a
conversation with Giunia, Cinna reveals Lucio Sillas intentions and
suggeststhatshepretendtoacceptthedictatorinordertokillhimherself
atanopportunemoment.Giunia,however,hatesdeceitandbetrayal,and
decidestoopenlyrejectLucioSillaandtheSenatesverdict.Atthecritical
moment when Giunia is threatening to stab herself with a dagger Cecilio
comestoherrescue.Theyarebothimprisoned.

ActIII
Giunia comes to the prison to bid farewell to her beloved.She wishes to
die with him. Aufidio leads Cecilio out. Giunia is driven to despair,
convincedthatherbelovedisabouttobeexecuted.LucioSillaproclaims
hisverdicttotheRomanpeopleandtheSenate.Cecilioistobefreedand
beallowedtomarryGiunia.BewilderedbyLucioSillasmagnanimity,Cinna
confessesthathewasplottingagainsthim.Sillapardonshimandsayshe
can marry Celia. He removes the laurels crown and renounces his

95010MozartCompleteEdition
53


dictatorship.Havingcometotheconclusionthatmagnanimityisagreater
goodthatpower,hefreesallpoliticalprisonersandgivesfreedomtothe
Romanpeople.

LAFINTAGIARDINIERA(CD144146)
Althoughitisayouthfulworkinthatitwascomposedafewweeksbefore
Mozarts19thbirthday,LaFintaGiardinierawasnothisfirstoperatousea
comic theme; six years before in 1768 he had written the music for an
operabuffa,LaFintaSemplice,awellthoughtoutpieceofworkwithfinely
shapedmelodiesburverylittledramaticforce,whichisalsohandicapped
byalibrettothat,toquotefromMozartscholarsWyzewaandSaintFoix,is
bothcomplicatedandsilly.Onecouldhardlyexpectaresoundingsuccess
fromatwelveyearoldcomposerwhohadbeengivensuchmaterial,even
ifhewereMozart!

Inthesixyearsthatseparatethesetwoworks,Mozarthaddevelopedand
refined his command of dramatic composition in the seria form with
Mitridate, Re di Ponto, Ascanio in Alba, and above all with Lucio Silla,
whichwaswrittentwoyearsbeforeLaFintaGiardiniera;Mozartwasnow
able to set out in a thoroughly professional manner to fulfil the
commission entrusted to him in the summer of 1774 by the Count Seau,
the Court Music Director. The authorship of the libretto is a matter for
discussion,asaccordingtoAnthonyHickscataloque,itisbyCaizabigiand
revised by Coltellini, but Angermller and Berke remain unconvinced by
thisandputforwardthenameofPetrosellini,followingthededicationof
theItaliantext.Thelibrettohadalreadybeensettomusicthatveryyear
by the prolific Pasquale Anfossi (17271797) for the Carnival season in
Rome, and had come through that to have a certain success.Mozart
obtained Anfossis score and studied it seriously; clearly he wanted to
familiarise himself with the way the text was divided up into recitatives,
arias,and ensembles, and also to get toknow more about the taste ofa
public that was very attentive to any small innovation in the buffa
style.Mozartwastoactinexactlythesamewaywhenhecametocompose
Don Giovanni, when he was to study Gazzanigas music and Bertatis
excellentlibrettowithgreatinterest;morethanonetraceofthisisclearly
apparent in the later work. The Neue Mozart Ausgabe terms La Finta
Giardiniera a drama giocoso, although it must be confessed that this is a
somewhatvagueterm,sincetheworddramamustherebeunderstoodto
have its wider meaning of a work for the theatre.Wyzewa and Saint Foix
have studied in detail the relationships between Mozarts work and its
namesake by his skilled Neapolitan Predecessor, and they commend the
oldercomposerforhisrespectfortheworkingsoftheoperabuffa,andfor
theariaswhichhaveafacileflowtothem,aswellasareservebothinthe
musicandinitsexpressionwhichadaptswelltothecompletelysuperficial
characteroftheactionandtheemotionstherein,buttheyalsocontrast
Anfossi,whoseonlythoughtwastoamusehimselfandhislistenerswith
Mozart, in that Mozart , completely and always a musician, did not
hesitatetogobeyondtheconventionsofthegenrethemomentthatthe
situations and the text allowed the musician to portray either tender of
melancholysentiments.AlthoughWyzewaandSaintFoxconsiderittobe
aminorwork,arathermediocrescorewhenallistakenintoaccount,but
which gives evidence of definite progress, La Finta has already certain
clear and precise characteristics which the later mature operas will
develop;firstlythepresenceoftragicelementsinabasicallycomicwork
the secondary character of Ramiro could well have come straight out of
operaseriaandhowMozartbringsoffhisactfinalesthroughtheuseof
linkedensembles.

ThelettersofLeopoldandWolfgangMozartpreservethememoryofthe
reception accorded the work when it was first performed on the 13th of
January1775intheSalvadortheaterinMunich.Thepeoplewhowereat
thereheasalsaidthattheyhadneverheardsuchbeautifulmusic,inwhich
all the arias work so well.Wherever we go, people know of it already.
(Leopoldtohiswife,December30,1774)Godbepraised!Myoperawas
performedyesterdaythe13th,andithadsuchasuccessthatitwouldbe
impossibletodescribetheapplausetoyou.Firstofall,thetheatrewasso
full that many people had to return home; after each aria there was a
terrific din of applause and cries of Viva Maestro scarcely had the
applausestoppedwhensomebodywouldstartagainandsoitwenton.
(Wolfgangtohismother,January14,1775).

This general enthusiasm was later to be diminished by the reception

accordedthelaterperformances,andwasdoubtlessmorerestrainedthan
thelettersleadustobelieve;undoubtedlytherunofbadluckwhichstruck
thefollowingperformances,ofwhichoneelementwastheillnessofoneof
the performers, was not unconnected with this. La Finta was revived
duringthe17791780season,butinGermanwithatextbyJohannFranz
JozefStierleandunderthetitleofDieverstellteGrtnerin,inwhichspoken
dialoguereplacedtherecitativesintheformofaSingspiel:italsoappears
thattheworkwasstillbeingperformedinFrankfurtin1789underthetitle
ofDieGrtnerinausLiebe.Theselaterrevivalsareimportant,sinceithad
long been believed by many, Wyzewa and SaintFoix included, that the
musicthathadcomedowntouswastheresultofsuccessivecorrections,
sincetheItalianversionwasonlyknownbycopiesofthesecondandthird
acts.AlfredEinsteinputsforwardanenticinghypothesisinadetailedstudy
oftheworkthatthisexplainsthestrangeinequalityofstyleofthisscore,
inwhichverysimpleariaswhichtaketheirinspirationdirectlyfromtheold
Italian opera buffa rub shoulders with other arias which seem to be
contemporarywiththoseoftheMarriageofFigaroorofCosifanTutte.

Thishasnowbeenconfirmedbythediscoveryofnewsourcesandofthe
complete Italian version of the opera, which has now finally made the
publicationpossibleofthisexcitingoperaofMozartsyouthinitsoriginal
form.
FernandLeclercq

SYNOPSIS
Preface
TheplotdevelopsfromthelovethattheMarchesinaViolanteboreforthe
Contino Belfiore, and which the Contino then betrayed by stabbing
Violante almost to death and then leaving her for dead; Violante had
scarcely recovered when she felt compelled to go and search for her
beloved. Disguised as the gardengirl Sandrina, she began her search
accompanied by her servant Roberto, equally in disguise as her gardener
cousin Nardo; at the beginning of the opera, they are in service to the
PodestofLagonero.

Act1
Itsafinesummermorning,andallwholiveonthePodestsestatearein
thesmallwoodwhichisclosebythehouse.Astheyhymntherisingofthe
sun and the power of Love, each of them is struck by fear. Only the
Podest seems to be enjoying life, for he has arranged an advantageous
marriageforhisnieceArmindawithamemberofthenobility.Thewedding
isduetotakeplacethatveryday,andhedecidestotakeadvantageofthe
opportunity to have a little amorous adventure with his new gardengirl
Sandrina. The young poet Ramiro laments his unhappy love affair with
Arminda, whom he is trying to forget in the isolation of the countryside.
The Podest sends everyone else away so that he can be alone with
Sandrina;SerpettaisjealousofSandrinaandtriestostopthishappening,
butonlysucceedsinirritatingthePodest,whoisonthepointofseducing
Sandrina.ThePodestissoupsetbybeinginterruptedatsuchamoment
that he falls into a trancelike state, his mood swinging between joy and
fear. Sandrina decides to abandon her plan and her disguise, but Nardo
restrains her. Ramiro then interrupts the scene, and Sandrina sets the
difficultiesofawomanslifebeforehim.Itsnownoon,andArminda,the
Podests niece arrives, extremely upset that there was noone to meet
heronherweddingday.HerfianctheContinoBelfiorearrivesandsings
extravagant praises of Armindas beauty, but Arminda notices the
weaknessofhischaracteralltooquickly,andmakeshimunderstandthat
sheisnotpreparedtoplayasecondaryroleinthisarrangedmarriage.The
Contino then restores his deflated selfconfidence by boasting about his
greatnobilitytothePodest.Siestatimehascomearound,andSerpettais
lying by the river bank in the shady woods; she knows that Nardo is
watchingher,andsohumsacoquettishlittletune.ShepointsouttoNardo
theirresistibleeffectthatshehasonthewholemalesex,andsaysthaton
this account she has absolutely no need of him whatsoever. It is now
afternoon;Sandrinareturnstothewood,andsingsofherpassionandher
sorrow to the surrounding trees. Arminda then engages her in
conversation, thinking that she has tracked down her uncles new
heartthrob, and she proudly confides to Sandrina the fact that she,
Arminda, will become the wife of the Contino Belfiore that very day.

95010MozartCompleteEdition
54


Sandrinafaintsfromshock,andArmindacallstotheContinotocomeand
helpwhileshegoesintohouseforsmellingsalts.TheContinorecognises
hisformerloverintheunconsciouswoman,hisloverwhomhethoughthe
had murdered a year ago. Exactly at this moment Ramiro arrives and
encountersArminda,hisformerbeloved;allfouraretakenabackbythese
unexpected meetings. The Podest, Serpetta, and Nardo then arrive, and
feelings of jealousy and revenge develop into physical assaults, which
reachtheirclimaxingeneralchaos.

Act2
Thefollowingmorning,thegeneralhostilitiesofthepreviouseveningare
continuedanddevelopedinseparatearguments.Armindainsiststhather
marriage to the Contino take place as planned, and Ramiro is beside
himselfwithanger.TheContinogoeslookingforSandrina,butisfoundout
byArminda.SerpettaproceedstohumiliateNardo,andSandrinatakesher
revengeontheContinoforhisbetrayalbyactingasSandrinaonemoment
andasViolantethenext.ThePodestsurprisesSandrinawiththeContino;
theContinothenflees,andthePodestattemptstotakeherbyforce,but
Sandrina just manages to save herself. Ramiro then brings about an
astonishingturnofeventsbypresentingawarrantfortheContinosarrest.
Asthelocalmagistrate,thePodestfindshimselfinthepositionofhaving
tobringacaseagainsttheContino,whoissuspectedofhavingbeenthe
murdereroftheMarchesinaViolante.Ramirofeelshopereborn.Inspiteof
alltheeffortsoftheCourttosavehim,theContinoentagleshimselfina
massofcontradictions.Heisonthepointofconfessingall,whenSandrina
appears.SheannouncesthatsheistheMarchesinaViolante,andthatheis
therefore innocent of murder; the Court withdraws to take counsel. The
Continowantstobereconciledwithhisrediscoveredlover,butsherejects
himandgoesaway.Rescuedfromtheedgeofoneabyssandnowseeing
another open before him, the Continos sanity begins to crumble. He is
hallucinatingandbelieveshimselfabouttodie,butstepbystephissanity
returns. Intoxicated by the sweetness of being alive, he stumbles away.
Night approaches, and all are preparing for bed when Serpetta causes
great agitation by announcing that Sandrina has run away. The Podest
leavesimmediatelytolookforher,althoughSerpettatriesinvaintostop
him. Almost fainting with rage, she stays behind; she is however quite
happythatArminda hashadherrivalcarriedofftoadistantspot.Inthe
depths of the forest at dead of night, Sandrina calls for help with all her
might.Fearfulvisionspursueher,andshecriesouttothegodsformercy.
The Contino and Nardo arrive, fearfully fumbling their way in the dark.
They are closely followed by the jealous Arminda, and the Podest
stumbles in as well, with Serpetta hard on his heels. Strange meetings
happen in the dark, and Ramiros lantern reveals the most embarrassing
mixups.Thisonlyservestorefueleveryonesanger,andallattackSandrina
and the Contino with redoubled fury. Overwhelmed by his concerted
hostility,bothlosetheirsanity.

Act3
Itisnowdawnofthefollowingday,andNardoagainrenewshisattentions
toSerpetta,butsheleaveshiminthelurchandhecursesallwomankind.
The Contino and Sandrina are still wandering in their delirium; Nardo
enacts a cosmic catastrophe for them, and they identify themselves with
theSunandMoonwhoareatwarwitheachother.Suddenlytheyfallinto
adeepsleep.ThePodestfeelsthreatenedformallsides;Serpettapleads
for his love, Arminda still wants her Contino, and Ramiro still insists on
having Arminda. The Podest can find no way out of this dilemma, and
withdraws in a towering rage. Ramiro, who has given up all hope,
contemplatessuicide.Sunrise.TheContinoandSandrinaawakerecovered
fromtheirdeliriumandrecogniseeachother.Theydecidetopartforever,
butLovesmagicpowerpreventsthis,andtheyfallintoeachothersarms.
All of the characters are now assembled, and Violate explains the
confusion caused by her disguise. Arminda is reconciled with Ramiro;
SerpettanowbeginstotakeaninterestinNardo,ashehasalsocastoffhis
disguiseandisoncemoreaservanttothenobility.ThePodestdecidesto
lookforanewgardengirl.
GeoffreyLayton

LAFINTAGIARDINIERA,OPERABUFFA,ORTHEMUSICOFMASKS
Overture.
Allegro molto: In the clear and joyful key of D major, light, brilliant, and
pungentlyironic,withatouchofcynicismanddeceit.

Andantegrazioso:thenonchalantsweetnessofasummermorning.

Act1
No.1introduction
After a choral ensemble in which each character expresses the same
contentment,wediscoverRamirosproudromanticisminthemelancholy
keyofBminor,thePodestscarnalobsessionsinasolidGmajor,andthe
heartbreak of the Marchesina Violante in the tortured key of E minor,
compelled as she is to portray Sandrinas lightheartedness and
simplicity.We hear Nardos confusion but also his positivism in his
continual variation between major and minor, and Serpettas instinctive
jealousyinherstaccatomusic,andalsohowthereturntoDmajorandthe
choralensemblegivestheimpressionofacompletelie.

No.2Aria,Ramiro
Ramirotriestogiveanexplanationatoncepoetic,brilliant,andvolubleof
his decision to distance himself from love; his last vocalises give the
impression through their difficulty that the bird that symbolises his
freedomisfarfrombeingabletoflyaway,butrathercannolongertake
wing.

No.3Aria,ThePodest
The Podest is still linked to his optimistic D major, and he feels all the
variousmusicsofdesireresoundinginhim;heismomentarilytroubledby
the sombre sadness of the violas, and is then struck to the heart with
terrorbythetimpanisheavyblowsinthereturntoDmajor.

No.4Aria,Sandrina
How when the gardengirl believes that she is speaking of women in
general, she in fact gives herself away by revealing her own emotional
reactions; how the ambiguous key of B flat major is concealed with
difficultybehindtheapparentlightheartednessofasoubrettearia.

No.5isplayedinthe3rdact.

No.6Aria,theContinoBelfiore
IntheseriousandimposingkeyofEflatmajorBelfioreappearsanoddbut
disturbingcharacter,hisburstsoflyricismandenthusiasmalternatingwith
stasisordepression.

No.7Aria,Arminda
ArmindastatesherviewofwhatherrelationshipwiththeContinowillbe
inthekeyofAmajor,adirectrelationtothePodestsDmajor.Dominant
andaggressiveassheis,shehoweverletsatraceoffragilityappeareach
timeshesingsthewordsperanza(hope)

No.8Aria,theContinoBelfiore
AlthoughheisnolongerinthereligiousandritualistickeyofEflatmajor,
Belfiore has still not reached the simplicity and clarity of the sharp keys,
thekeysofsummerandtheopenair.InCmajor,andinalternatingquick
and majestically slow tempi, he gives evident proof of his instability,
euphoria,andabstraction.

No.9a+9bCavatina,SerpettaandNard
To a simple refrainlike melody, Serpetta says that she wants a young
husband,eventhoughshethinksthatsheisinlovewiththePodest,and
sherejectsNado,althoughheispretendingtobeanolderman.

No.10Aria,Serpetta
Thevirtuosity,energy,andjoy,aswellasthesuperficialityofthefirstpart
oftheariaallgivewaytomelancholyandthesearchforloveinavocalise
whichalmostbecomesalament;everybodysayssheisbeautiful,butthe
onemansheisinterestedinhasntevennoticedhere.

No.11Cavatine,Sandrina
ThisisinCmajor,thesamekeythattheContinohadchosenforhissecond
aria.ForthefirsttimeintheoperaSandrinaisaloneonthestage,andher
vocalisesexpressnotonlyherlonelinessandherpersonalgrief,butrecall
thoseofSerpettaintheprecedingaria:SerpettaandSandinaarebothin
searchoflove.

95010MozartCompleteEdition
55


No.12Finaleprimo
TheContinoandSandrinanowmeetintheContinoskeyofCmajor,but
Sandrina immediately turns it into E minor, her fainting imagination
haloingtheContinointhiskey.Whenshefullyregainsconsciousnessafter
herfaint,weareagaininCmajor,andarapidmodulationtoGmajortakes
us into the presence of the second couple, Arminda and Ramiro. In this
quartet of separated lovers who suddenly find each other, each key
modulatestoitsrelativeminor,withtheContinosGmajormodulatingtoE
minor for Sandrina, and Ramiros C major modulating to A minor for
Arminda. These are related and complementary neighbouring keys, keys
whicharenormallyinseparablebutwhichheresimplyfollowonfromeach
other, one desperately calling upon the next. An audaciously rapid and
unexpected modulation reinforced by a change of tempo brings in the
characteristictimbreofEflatmajorwhichhereseemsalittleridiculously
solemn, but the sinuously disturbing and worrying bass line immediately
shiftsthecomedytowardsamoreambiguoussituation;thePodestisan
intruderwhodoesnotimmediatelyunderstandthepainfuldifficultyofthe
situation, and it is only when the two couples leave him alone that he is
abletoasserthiskeyofDmajorwhichnowseemslikearendingofthe
musical fabric, or rather a sudden return to the normal world after
wanderinginstrangeanddangerousregions.
The Podest is joined by Nardo and Serpetta, and a scene then begins
which would normally be a light and superficial interlude, if it were not
that the tempo in which it is written gives its character a certain mad
frenzy,acharacteristicwhichwillbedevelopedlater.
ThetransitorykeyofGmajorleadsusbacktoCmajorforSandrinaandthe
Contino,buttheCmajorisnotstable;findingnoanchor,itescapestheir
controlandleavesSerpettasstaccatotorestatethekeyofGmajor.From
this moment on, the various characters try to prevent Sandrina and the
ContinofromreestablishingastableCmajor.
Their different attempts to return to it will be constantly prevented by
suddenandskilfulmodulationsuptotheallegroin_,wherejustasinthe
Introduction,eachsoloistexpressesinturnhischaracteristicanguishinhis
appropriate key before they all come together again in a frenzied seven
partchorusinAmajorwhichseemsmoreviolentthanbrilliant.Themusic
isnowpoisedlikeaquestionmarkinAmajor,thedominantofthemain
keyofDwhichwasthekeyoftheOverture.

Act2
No.13Aria,Arminda
InthefrenziedagitationofthetragickeyofGminorwenowdiscoveran
unsuspectedpassioninArmina;whilethefirstactportrayedherasmore
superficial,herexpressionsofsincerityonthewordschesospirarmifa
nowrevealherasbeingafragile,tormented,andcomplexcharacter.This
aria, together with the last aria of Ramiro provides the most violent and
tormented music of the whole opera, with its bassoon and oboe
counterpoints and its martellato passages for the horns. It is a
tempestuousmomentinthemiddlesofwhatonehadbelieveduptillnow
tobealightweightwork.

No.14Aria,Nardo
This returns to the more reassuring key of A major; the aria is a small
parody of the various operatic styles of the period Italian, French, and
English, with a typically Mozartian coda in which the same music is used
butinafastertempoandwithdifferentaccentuation,sothatwhatbefore
had been amusing becomes now the expression of pique and utter
confusion.

No.15Aria,theContinoBelfiore
The veiled sweetness of F major reinforced by the sonority of the two
flutesandthetwohornsgivesaparticularimpressionoftenderness,and
thecharacterofthemusicisasdifferentfromthatoftheprecedingariaas
was the fury of Armindas aria. The coda uses the same procedure as in
Nardos aria, but in reverse; what before was sweet, tender, and sincere
now becomes falsely deceiving and showy, almost situation comedy, but
themusichasalsothecharacteristicfrenzythatconcludeseachariainthe
opera.

No.16Aria,Sandrina
Thefintagiardinieratriestojustifyherselfinhermasterseyesinanaria
in four distinct parts and in Serpetta and Nardos key of A major. In the

secondpartoftheariainAminorheranguishreappears,thereturntoA
major and the first tempo tries to recreate trust and understanding
between the two characters, but the tempo changes again and in a 3/8
andanteconmotoSandrinaspeakstotheyounggirlswhoperhapsmaybe
listeningtoherwhileshesingsvocalisesthatbecomeevermoreagitated
andpleading.

No17Aria,Podest
The positive everyday key ofG majorin 6/8 underlines the authority but
also the agitation of the Podests personality, and also the changeable
side of his character. The harsh and sharply acidic nature of the music is
justtheoppositeofthecalm,orderly,andreasonableimpressionthatthe
Podesttriesnormallytogive.

No.18Aria,Ramiro
Sharing the feeling of Belfiores earlier aria, this aria in B flat major uses
twobassoonstogetherwiththenormalcomplementofstrings,andisthe
mosttenderlymelancholicandperhapsthemostbeautifulofallthearias
inthework.ThisselfsamehopethatArmindaexpressedwithsuchfragility
is here now hymned with faith and trust, and allows the music a brief
period of calm before the vocalises come once again to disturb its
momentarypeace.

No.19RecitativeandAria,theContinoBelfiore
SandrinaseemsfinallytohaverenouncedtheContino,whothenreturnsto
his original key of E flat major. The music whirls him in his confused
imaginationfromonecatastrophetoanother;hehearsweepingandthen
he hears thunder before falling to the ground to await death; this scene
could perhaps be grotesque if it were not upheld by wonderfully
composed music which is the cause of the Continos actions rather than
themereillustrationofwhathethinksheseesandhears.Theariabegins
with a mysterious and sombre adagio, and we then witness a gradual
lighteningoftheatmospherewhichleadsinitsturntoasectioninminuet
tempo which is too joyfully light to be credible, and which takes the
Continointoatrancelikestatewhichisasunrealaswashisdepression;all
thesefactorscombinetocreatethestrangeunrealitythatwehearinthis
music.

No.20Aria,Serpetta
AreturntotheclearsharpkeyswithGmajor,althoughSerpettasseveral
digressionsintovariousminorkeyshavethoroughlychangedher.Lesssure
ofherselfandclosetodespair,hermusicnolongerdisplaysthelightness
that normally characterises her. She becomes insecure and wary before
takingrefugeinafalsebanalitywhichechoeshercurrentlyfalsesenseof
values.Thelastbars,ashappensinalmostalltheariasintheopera,betray
her insecurity. A very short and marvellouslywritten transition passage
nowchangestheorchestralcolourtoleadusinto..

No.21Aria,Sandrina
WenowfindourselvesinCminor,therelativeminorofEflatmajorwhich
isthekeyofBelfioreslastaria.Thepantingstringfiguresandtheaccents
on the fourth beat of every bar give an air of panic to her music, and
simultaneouslyexpressphysicalpain,fear,anguish,andrebellion.Shecries
for help in magnificent soaring phrases in E flat major, the same key in
whichwelastheardtheContino,butwiththedifferencethatwhereasthe
Continos trials were imaginary, hers are all too real. In music that is
simpler but all the more moving for that, she implores the gods to have
pity on her, thinking that she can hear the voices of her own pain and
tormentattheendoftherecitative.Wearethensuddenlytransportedby
meansofasmallbutacrobaticmodulationtoAminor,akeyfarremoved
fromCminor.

No.22Cavatina,Sandrina
The key of A minor is so strange here that it immediately gives an
impressionofsolitude;Mozarthandlestheallegroagitatoin6/8wellwitha
formula that he will often make use of to express either exhaustion or
difficultyinbreathing.Eachsyllableisseparatedfromtheothersbyrests,
while a rhythmic pattern (here played by oboe and bassoon) forms the
instrumental accompaniment. The aria is followed without a break by a
recitative,whichafterpassingthroughvariouskeysleadsusinto

95010MozartCompleteEdition
56


No.23Finalesecondo
WenowmeetupwiththeContinooncemore,andinEflatmajoraswould
be expected. The music is at once totally new and rhythmically highly
irregular,alwaysgivingtheimpressionthatthereiseitherabeattoomany
orabeattoofew,anditisthisirregularitytogetherwithmusicalpatterns
which suggest stumbling that announces the arrivals of the different
charactersoneaftertheotherintheforest.Alabyrinthofemotionshere
parallelsthelabyrinthofkeysandrhythms,withcouplescomingtogether
by mistake as in the 4th act finale of Le Nozze di Figaro; these newly
formedpairsfindtheirhappinessinBflatmajor,buttheGmajorallegretto
in 6/8 which then follows punctures this strange idyllic situation like a
brightlightinthemidstofshadows.Thisalienlightrepresentsdanger,for
all the characters feel happier in the shadows of E flat major, and only
managetoleaveitwiththegreatestdifficultywhenRamiroarrivestoshed
somereallightonthescenewithhislantern,hisclearmelodyinGmajor
withflutesandhornsthenrevealingthecomedyofthesituation.Afterthe
various problems of mistaken identity have been resolved, a highly
significantkeysequencethenbeginswithArmindaaddressingtheContino
in C major, the key he himself had chosen as his own, and the Podest
attackingSandrinaintherelativeminor,Aminor.Sandrinaexperiencesthe
onsetoftheproblemswhichwillresultinhertotalbreakdowninthekeyof
G minor before giving way in her turn to A minor, and Nardo derides
Serpetta in E minor, while she answers him back in G major. This key is
immediately taken up by Ramiro, which causes Arminda to adopt its
dominant, D major; she uses this to increase the musical tension before
statingthekeyofCminor,whichwillbethekeytorepresentSandrinaand
Belfioresmadness.TheirfirstmeetinghadbeeninCmajor,andnowthey
will seem to be most in harmony in C minor; the other characters try to
bring them back to their senses by making their C major music resound
withaflourish,joiningtogetherinanascendingscalewhichisinterrupted
by a weightily massive silence, followed immediately by an orchestral
unison.

TheonlyeffectthatthishasistosetupaludicrouslysereneandidyllicG
majorwhichisnotatallthePodestandRamirostaste;thesetwouseit
to challenge the Contino to a duel. In spite of Serpetta and Nardos
attemptstocalmthem,thepreviousscaleandaggressiveunisonpassage
returnandleadSandrinaandtheContinointofindinganotherusefortheir
Gmajor,butthiskeyisnowtooearthboundforthem,andtheyareunable
toresistthecallofthegentlycradlingkeyofAminor.Thisismorethanthe
othercharacterscanstand,andtheyforciblybringbackCmajor,thekey
that is supposed to be Sandrina and the Continos, but the pair want no
truckwithitforthemoment,andonlyuseitasapivottopassintoFmajor.
Anger now gives way to astonishment, and the now familiar ascending
scale and orchestral unison bring Ramiroto accuse Arminda of being the
causeofallthisfrenziedtonalmadness.

AplaintiveCminornowtakesholdofthetwolovers,andfromnowuntil
theendofthefinalethethreekeysofCmajor,Cminor,andAminorwill
collide, oppose, or harmonise with each other in the most skilful
combinations to portray successively distress, astonishment, anger,
anguish, rejoicing, and finally, the madness which then overtakes the
wholecast,beforeitcomescrashingdownonaunisonbassC.

Act3
No.5Aria,Nardo:
We meet Nardo once more in his positive G major, but he now seems
more sadistic than joyful, the music showing his relentlessness in its
ostinato rhythms and the martellato horn passages. This impression is
reinforced by his melancholy turns of phrase on the word tristarello,
whichbecomedesperatepleasfortenderness.Hetooisunabletoescape
thecodapiallegrowhichsincethebeginningoftheoperahasthrown
eachcharacterintoconfusionandmadnessattheendoftheiraria.

No.24AriaandDuet,Nardo,SandrinaandtheContino:
Nardotriestoreunitethetwoyoungloversbyportrayingawarbetween
thestartsfortheminEflatmajor,thekeyofritualmysteries,butSandrina
and the Contino, although caught up in the story, do not recognise each
other and take refuge once more in their delirium.With their last cry of
aiuto per pieta, the fragility which appears at the end of their duet is
linkedwiththemoodofthesecondactfinale(no23)whentheywereboth

overcome by madness; the music has the same despair and the same
exhaustion.

No.25Aria,Podest:
ThePodestsagitatedandexasperatedCmajorishereaccompaniedbya
completelymechanicalclockworkrhythmwhichcreatesavirtuosoariafor
absolutely no purpose, unless to express una coasa da crepar. The
obligatory presto coda then arrives to confirm this madness, with its
imperious trumpet tones in the last orchestral bars which give the
impressionofavictorywon.

No.26Aria,Ramiro:
Ramiro now vents his hate and despair in the tragic key of C minor, a
related key to the G minor in which Arminda was shown to be fragile,
impassioned, and almost frenzied; we have here the same balance
betweenagitation,excitement,anddepression.Raminorstateshislonging
for death in G minor, but all the same it is an aggressive C minor that
carrieshimawaywithoutleavinghimanyshredofhope.

No.27RecitativeandDuet,SandrinaandtheContino
The key of E flat major is carried over from their preceding scene, and
SandrinaandBelfioreawakecalmandserenefromtheirdelirium;stillinE
flat Sandrina confirms that she is Violante, but only immediately to turn
the music towards the melancholy key of C minor. The Continos
declarations which then follow try to reestablish the initial mood in a
serener key, and the duet proper finally begins in B flat major, the same
key in which Sandrina had sung Noi donne poverine. This duet is the
mostlyricalpassageinthewholescore,withlongextendedphrases;itis
almost as if the voices had been waiting the whole opera long for this
opportunitytoexpand.TheveiledshadowsofCminorreappearwiththe
melancholy timbre of two oboes, and the music hesitates between the
various minor keys now possible before coming to a halt in B flat major,
thekeyofthecouplesreconciliation.Itshouldbehowevernotedthatitis
not in D major seems a trifle ambiguous, it is because Sandrina and the
Continoarenottheclear,trusting,andluminouslysimplecharactersofa
utopianworldinDmajor.

No.28Finaleultimo
This utopian D major world now appears as a form of moral; this would
indeedseemtoofacileifMozarthadnotkeptbackasurpriseforthelast
bars,whentheshiningDmajorcurtainsuddenly partstorevealagulfof
severalpianissimobarsonthechordoftheseventhinthekeyofAminor
acurtainwhichclosesasrapidlyasithadopened,butenoughtoraisethe
question whether anything that can conceal such ostensible happiness
couldindeedeverbethatsimple.

ILREPASTORE(CD147148)
ActI
The poor shepherd Aminta meets his beloved Elisa. Nearby is an
encampment of Alexanders Macedonian troops, in Sidon to depose the
tyrant in favour of a legimate ruler. Aminta is anxious that nothing bad
should befall Elisa. She reassures him, telling him of Alexanders noble
intentions.Heraiminmeetinghimhowever,wastotellhimofherfathers
consenttotheirmarriage.Amintaworriesabouthispoverty.Fromnowon
Elisa,thedaughterofwealthyparentswillhavetosharehisshepherdslife.
Elisa tells him of her love and of the joy that their shared life will bring.
Alexander,theMacedonianking,recognisesAmintaasthelostheirtothe
Sidonianthroneuponencounteringhim.Speakingtothenobleyoungman,
his belief is confirmed. He confides his discovery to Agenore, a Sidonian
aristocratinsearchofhistrueking.Tamiri,daughterofthedeposedtyrant
hidesinElisashouse,afraidofthevengefulAlexander.Shehaslongbeen
in love with Agenore, but unable to meet him for fear of falling into
Alexandershands.Hehowevertellsherthatshehasnothingtofearfrom
theMacedonianking.ElisabringsAmintatomeetherfather.Ontheway
theyarestoppedbyAgenorewhotellsthemthatAmintaisthelostheirto
the Sidonian throne, to whom Alexander has decided to return the
kingdomofSidon,havingdeposedthetyrant.ElisaconvincesAmintatogo
toAlexandertothankhimforthereturnofhiscrown.

95010MozartCompleteEdition
57


ActII
ElisaenterstheMacedoniancamptomeetherbeloved,butisprevented
byAgenorefromdoingso.Meanwhile,AmintaismeetingAlexander,who
appointshimrulerofthecountryandinstructshimtodonregalattireto
be shown to his subjects. Agenore remains behind with Alexander, who
thinksovertheplightofthefleeingTamira.Hewouldliketofindherand
make her the wife of the new ruler. Agenore is distraught, but afraid to
oppose Alexander. Elisa and Tamira appear in front of the Macedonian
ruler. Elisa tells him of her love for the shepherd Aminta, Tamira of her
love for Agenore. Aminta present throughout, returns the crown to
Alexander,sayingthathewouldprefertogiveupthekingdomofSidonin
ordertoremainfaithfultohisbeloved.Alexanderisprofoundlymovedby
thedeeploveofbothcouplesandconsentstothemarriages.Hebestows
TamiraonAgenoreandElisaonAminta.Amintacannowacceptthe
crown,agoodshepherdbeingthebestking.

ZAIDE(CD149150)
The slaves are working in Sultan Solimans garden singing to cheer
themselvesup.AmongthemisGomatz,ayoungChristian,sadbecausehe
was held, though innocent, by the Sultan. He finds peace in sleep. Zaide,
alsoaslaveoftheSultan,approacheshimandleavesamedallionwithher
picture.When Gomatz awakens this token of love gives him back new
vitality.Theirlove,however,isendangeredbecausetheSultanlovesZaide
too.TheSultansendsforZaide.Allazim,overseeroftheSultansgardens,
comforts the despairing Gomatz and promises to help the two lovers to
escape.InspiteofthespecialrightstheSultanhadbestowedonhim,he
decides to escape to freedom as well. The Sultans love for Zaide causes
Senitza, daughter of the Bey of Tunis, to consider herself abandoned. In
despairshedressesasaslavegirlandapproachestheSultaninthehopeof
winningbackhislove,thususingtheSultanssweaknessforhisslavesgirls.
Osmintheslavetraderwastoassisther.Osmintherefore,turnstoAllazim
forhelpwhoconsidersthisagooddecoytocovertheintendedescape.He
tellsthemwhenandwheretheycanmeettheSultan.Allazimandthetwo
lovers, Zaide and Gomatz, are rejoicing in the prospect of freedom. The
enragedSultanlearnsaboutthesuccessfulescape.Zaram,thecommander
oftheguard,assureshimtheescapeeswillbecapturedbeforetheyeven
reachtheborder.ItismostunfortunatefortheirundertakingwhenOsmin
andSenitzaapproachtheSultanatthismoment.Theyaregrufflyrebuffed.
SenitzaslovefortheSultanturnsintohatredandshedecidestokillhim.
The escapees, captured in the meantime, are dragged in front of the
Sultan.Zaidespleadingdoesnotchangehisintentiontohavethemboth
executed.OnlyAllazimwastobesparedsinceheoncesavedtheSultans
life. Allazim also appeals for mercy on their behalf alas to no avail.
Senitza appears with armed men and seizes the Sultan. Allazim suggests
she should spare the Sultans life providing he garants freedom for the
lovers. Zaide and Gometz received their freedom. Senitza decides to
remainwiththeSultan.

IDOMENEO(CD152153)
ActOne
Sidon,capitaloftheislandofCrete.Ilia,daughterofKingPriam,reflectson
the defeat of Troy, which she never will see again, and on her love for
Prince Idamante, son of Idomeneo, which she hesitates to acknowledge.
Soon Idamante comes to free the Trojan prisoners. Saddened by Ilias
rejectionofhislove,hetellsheritisnothisfaultthattheirfatherswere
enemies. Trojans and Cretans alike welcome the return of peace, but
Elettra,jealousofIlia,rushesintoprotestIdamantesclemencytowardthe
enemy prisoners. Arbace, the kings confidant, interrupts with the news
that Idomeneo has been lostat sea on his return voyage. Elettra, fearing
that a Trojan soon will be Queen of Crete, feels the furies of Hades
tormenting her. On a deserted seashore, the shipwrecked Idomeneo
recalls the vow he foolishly made to Neptune to sacrifice, if he were
spared, the firstliving creature he meets onshore. Idamante approaches
him,butbecausethetwohavenotseeneachothersincethesonsinfancy,
recognitionisslow.WhenIdomeneorealizestheyouthishisownchild,he
orders Idamante never to seek him out. Griefstricken by his fathers
rejection,Idamanterunsoff.CretantroopsdisembarkingfromIdomeneos
shiparemetbytheirwives,andallsingthepraisesofNeptune,whowillbe
honoredwithasacrifice.

ActTwo
Atthepalace,IdomeneoseekscounselfromArbace,whosaysasubstitute
could be sacrificed if Idamante went into exile immediately. Idomeneo
ordershissontoescortElettrahometoGreece.IliathengreetsIdomeneo,
whosekindwordsmovehertodeclarethatsinceshehaslosteverything,
he will be her father and Crete her country. As she leaves, Idomeneo
realizeshisdeliverancehascostIliaherhappinessaswellashisown.Saved
atsea,henowfindsatempestraginginhisownbosom.Elettrawelcomes
theideaofgoingtoArgoswithIdamante,voicingherloveforhim.Atthe
portofSidon,Idomeneobidshissonfarewellandurgeshimtolearnthe
art of ruling while he is away.Before the ship can sail, however, astorm
breaksout,andaseaserpentappearsamongthewaves.Recognizingitas
a messenger from Neptune, the king offers himself as atonement for
havingdefaultedinhisbargainwiththeseagod.

ActThree
Intheroyalgarden,IliaasksthebreezestocarryherlovetoIdamante,who
appears,explainingthattheserpentiswreakinghavocinthecountryside
andthathemustgotofightit.Whenhesayshemayaswelldieassuffer
thetormentsofunrequitedlove,Iliaconfessesherlove.Theyaresurprised
byElettraandIdomeneo.WhenIdamanteaskshisfatherwhyheshunshim
andsendshimaway,Idomeneocanreplyonlythattheyouthmustleave.
Ilia asks for consolation from Elettra, who is preoccupied with revenge.
Arbace comes with news that the people, led by the High Priest of
Neptune,areclamoringforIdomeneo.TheHighPriesttellsthekingofthe
destruction wrought in the land by Neptunes monster, exhorting
Idomeneotorevealthenameofthepersonwhosesacrificeisdemanded
by the god.When the king confesses that his own son is the victim, the
populaceishorrified.Outsidethetemple,thekingandHighPriestjoinwith
Neptunes priests in prayer that the god may be appeased. Arbace
announces that Idamante has succeeded in killing the monster. As
IdomeneofearsnewreprisalsfromNeptune,Idamanteentersinsacrificial
robes, saying he at last understands his fathers dilemma and is ready to
die. After an agonizing farewell, Idomeneo is about to sacrifice his son
when Ilia intervenes, offering her own life instead. The oracular Voice of
Neptune is heard. Idomeneo must yield the throne to Ilia and Idamante.
Everyone is relieved except Elettra, who longs for her own death.
IdomeneopresentsIdamanteandhisbrideasthenewrulers.Thepeople
call upon the god of love and marriage to bless the royal pair and bring
peace.

DIEENTFHRUNGAUSDEMSERAIL(CD154155)
K.384SingspielindreiAufzgen(singingpartsonly)
Music:WolfgangAmadeusMozart
Libretto:JohannGottliebStephaniederJngere
Premire:July16,1782,Burgtheater,Vienna

ActI
Belmonte seeks everywhere his betrothed, Konstanze, who with her
attendantBlndchenhasfallenintothehandsofSelimBassa.(Aria:Here
shall I see you, Konstanze, you my hope.) When Osmin Bassas servant
comestopluckfigsinthegardenBelmonteretires.(Aria:Whoalovehas
found.) Belmonte returns to obtain news of his servant, Pedrillo. (Duet:
Confounded be you and your song.) Osmin is angry. (Such
ragamuffins.) Belmonte hears news of Pedrillo and resolves to abduct
Konstanze.(Aria:Konstanze,Konstanze,toseetheeagain;chorus:Sing
to the great Bassa.) Selim presently appears with Konstanze, for whose
lovehestrivesinvain.(AriaofKonstanze:0forgive!Oh,Iloved)Upon
the recommendation of Pedrillo, the Bassa engages Belmonte as builder,
but Osmin refuses him access to the palace. (Terzett: March! March!
March!)

ActII
BlndchenrepulsestheroughlovemakingofOsmin.(Aria:Bytenderness
and flattery.) After a duet (I go, but counsel thee to avoid the villain
Pedrillo), Osmin departs. Konstanze greets Blndchen in distress (Aria:
Sorrow is my lot), informing her that Selim demands her love and
threatenstouseforce.(Aria:ThisalsowillIbear.)Whenshehasgone,
PedrillocomestoBlndchen,whoishissweetheart,andinformsherthat

95010MozartCompleteEdition
58


Belmonteisnearandthatallisreadyforflight.Blndchenisfilledwithjoy.
(Aria: What happiness, what delight.) Pedrillo invites Osmin to drink,
hoping that he will become intoxicated. (Aria: On to the combat and
duet:VivatBacchus!mayBacchuslive!)Hesucceedsinthisplanandgets
OsminoutofthewaysothatBelmonteagainseeshisbelovedKonstanze.
(Quartet,Belmonte,Konstanze,Pedrillo,Blndchen:Oh,Belmonte,ohmy
life.)

ActIII
BelmonteandPedrillocometothegardenwithladders.(Aria,Belmonte:
Whenthetearsofjoydofall;Romanze,Pedrillo:Captiveinthelandof
the Moors.) Belmonte succeeds in abducting Konstanze, but when
PedrilloisabouttoescapewithBlndchen,theyarecaughtbyOsmin(Aria:
Ho, how I will triumph), and Belmonte and Konstanze are also brought
backbytheguard.SelimBassa,whorecognisesinBelmontethesonofan
enemy, is about to order their death. (Duet: Oh what a fate, oh souls
misery.)Hisheart,however,istouchedbytheirsorrow;heforgives,and
allaresetatliberty.(Finale:NeverwillIthykindnessforget.)

DERSCHAUSPIELDIREKTOR(CD156)
TheimpresarioFranckisabouttoformatheatricaltroupe,assistedbythe
actorBuff.AbankernamedEileriswillingtoprovidefinancialsupportfor
theventure,butontheconditionthathismistress,MadamePfeil,begiven
a part.When she enters she immediately demands a principal role. To
demonstrate her skills, she performs a scene from Der aufgehetzte
Ehemann, with the reluctant banker assuming the title role. Franck
engagesherforaweeklysalaryof12thalers.

Enter Madame Krone who looks upon herself as a great tragedienne. To

rebutFrancksargumentthatoldstyletragedyisoutoffashion,sheteams
upwithHerrHerztoofferasamplefromBiancaCapello.Bothareengaged
for 14 thalers a week. The comedienne Madame Vogelsang is the last to
makeherappearance.WithBuffasherpartner,shepresentsascenefrom
Die galante Bauerin. Very pleased, Franck offers her 18 thalers a week.
Nowitisthesingersturn.MadameHerzdisplayshervocalprowessinthe
ariettaDaschlgtdieAbschiedsstunde.MademoiselleSilberklang,forher
part, sings a rondo Bester Jngling. Franck offers them a salary of 16
thalers each, the ensemble now being complete. His only concern is to
establish a spirit of harmony. But almost immediately, rivalries erupt
between the two singers, Mme Herz and Mlle Silberklang, for both insist
on the rank of Prima Donna. In the following Trio (Ich bin die erste
Sngerin)theygiveexpressiontotheirdemand,offeringasampleoftheir
respectiveabilitytosingadagioandallegro,withM.Vogelsangtrying
toappeasethempiano.Hepointsoutthatanartistdisparaginganother
belittles art itself. Ultimately, he persuades the singers to give up their
claim,butintheirheartofheartstheyareunrepentant.

Mme Pfeil, having learned that compared with the others she is poorly
remunerated,insistsonthehighestsalaryonthegroundsthatshemaybe
employed in a wide range of roles. Eiler, the banker, quitely implores
Francktosatisfyherdemand,addingthathewillfootthebillanyway.Now
theothersbegintoprickuptheirears.Fortunately,MmeKronemakesup
hermindtodesistfromherclaimforthesakeofart,andtheothersfollow
suit.Inthiswaycalmisrestored(forawhile).Buffwishestheimpresario
goodluckaddingthattherecanbenomorefrighteningexperiencethanan
ensembleentirelymadeupofleadingladiesandprimadonnas.

The final scene contains the moral of the story: a spirit of unity is the
greatestvirtueofartists,whoshouldnotplacethemselvesaboveothers.
Buff, who is not a singer, jocularly stakes out his claim to be the leading
buffoandthenjoinsinthesinging.

LENOZZEDIFIGARO(CD157159)
ACTI.
A country estate outside Seville, late eighteenth century.While preparing
fortheirwedding,thevaletFigarolearnsfromthemaidSusannathattheir
philandering employer, Count Almaviva, has designs on her. At this the
servant vows to outwit his master. Before long the scheming Bartolo
enterstheservants'quarterswithhishousekeeper,Marcellina,whowants

Figarotomarryhertocanceladebthecannotpay.AfterMarcellinaand
Susannatradeinsults,theamorouspageCherubinoarrives,revelinginhis
infatuation with all women. He hides when the Count shows up, furious
because he caught Cherubino flirting with Barbarina, the gardener's
daughter. The Count pursues Susanna but conceals himself when the
gossipingmusicmasterDonBasilioapproaches.TheCountstepsforward,
however, when Basilio suggests that Cherubino has a crush on the
Countess.AlmavivaisenragedfurtherwhenhediscoversCherubinointhe
room. Figaro returns with fellow servants, who praise the Count's
progressivereforminabolishingthedroitduseigneurtherightofanoble
to take a manservant's place on his wedding night. Almaviva assigns
Cherubino to his regiment in Seville and leaves Figaro to cheer up the
unhappyadolescent.

ACTII.
Inherboudoir,theCountesslamentsherhusband'swaninglovebutplots
to chasten him, encouraged by Figaro and Susanna. They will send
Cherubino,disguisedasSusanna,toaromanticassignationwiththeCount.
Cherubino,smittenwiththeCountess,appears,andthetwowomenbegin
to dress the page for his farcical rendezvous.While Susanna goes out to
find a ribbon, the Count knocks at the door, furious to find it locked.
Cherubinoquicklyhidesinacloset,andtheCountessadmitsherhusband,
who,whenhehearsanoise,isskepticalofherstorythatSusannaisinside
the wardrobe. He takes his wife to fetch some tools with which to force
the closet door. Meanwhile, Susanna, having observed everything from
behindascreen,helpsCherubinooutawindow,thentakeshisplaceinthe
closet. Both Count and Countess are amazed to find her there.All seems
welluntilthegardener,Antonio,stormsinwithcrushedgeraniumsfroma
flowerbedbelowthewindow.Figaro,whohasrunintoannouncethatthe
weddingisready,pretendsitwashewhojumpedfromthewindow,faking
a sprained ankle. Marcellina, Bartolo and Basilio burst into the room
wavingacourtsummonsforFigaro,whichdelightstheCount,asthisgives
himanexcusetodelaythewedding.

ACTIII.
Inanaudienceroomwheretheweddingistotakeplace,Susannaleadsthe
Count on with promises of a rendezvous in the garden. The nobleman,
however, grows doubtful when he spies her conspiring with Figaro; he
vowsrevenge.MarcellinaisastonishedbutthrilledtodiscoverthatFigaro
is in fact her longlost natural son by Bartolo. Mother and son embrace,
provoking Susanna's anger until she too learns the truth. Finding a quiet
moment, the Countess recalls her past happiness, then joins Susanna in
composingaletterthatinvitestheCounttothegardenthat night.Later,
duringthe marriageceremonyofFigaroandSusanna,thebridemanages
toslipthenote,sealedwithahatpin,totheCount,whoprickshisfinger,
droppingthepin,whichFigaroretrieves.

ACTIV.
Inthemoonlitgarden,Barbarina,afterunsuccessfullytryingtofindthelost
hatpin,tellsFigaroandMarcellinaaboutthecomingassignationbetween
the Count and Susanna. Basilio counsels that it is wise to play the fool.
Figaro inveighs against women and leaves, missing Susanna and the
Countess,readyfortheirmasquerade.Alone,Susannarhapsodizesonher
loveforFigaro,buthe,overhearing,thinksshemeanstheCount.Susanna
hides in time to see Cherubino woo the Countess now disguised in
Susanna'sdressuntilAlmavivachaseshimawayandsendshiswife,who
he thinks is Susanna, to an arbor, to which he follows. By now Figaro
understands the joke and, joining the fun, makes exaggerated love to
Susanna in her Countess disguise. The Count returns, seeing, or so he
thinks, Figaro with his wife. Outraged, he calls everyone to witness his
judgment, but now the real Countess appears and reveals the ruse.
Graspingthetruthatlast,theCountbegsherpardon.Allarereunited,and
soendsthis"madday"atthecourtoftheAlmavivas.

DONGIOVANNI(CD160162)
ActI
Leporello waits outside the Commendatores home as Don Giovanni, his
master, is inside ravishing the Commendatores daughter, Donna Anna.
ThemaskedDonGiovannisuddenlyrunsfromthehousewithDonnaAnna
following him. Awakened by the clamor, the Commendatore challenges

95010MozartCompleteEdition
59


Don Giovanni to a duel which ends in the Commendatores death. After
Don Giovanni and Leporello flee, Donna Anna and her betrothed, Don
Ottavio, swear vengeance upon the Commendatores masked killer. Don
Giovanni and Leporello overhear the plaint of an forsaken woman.
Giovanni approaches, planning to seduce her until he recognizes her as
Donna Elvira, a woman he recently seduced and abandoned. Giovanni
orders Leporello to distract her while he escapes. Leporello tells Donna
Elvira that she is merely one of Don Giovannis thousands of conquests.
Villagers celebrate the impending wedding of Zerlina and Masetto.
Giovanni,lustingafterZerlina,chargesLeporellotoamuseMasettoandthe
revelers so that he may be alone with Zerlina. Giovanni has nearly
conquered Zerlina when Donna Elvira interrupts. Donna Anna and Don
OttavioarriveandaskforGiovannishelpinfindingtheCommendatores
mysterious murderer. Donna Elviras denunciations of Giovanni arouse
their suspicions, but he assures them that Elvira is mad. After Giovanni
departs,DonnaAnnatellsOttaviothatsherecognizedGiovannisvoiceas
that of her fathers murderer. Masetto chastises Zerlina for fraternizing
with Giovanni, but she convinces him to forgive her. Giovanni invites the
couple, along with three mysterious masquers, to festivities at his
residence.ThemaskedtrioDonnaAnna,DonOttavioandDonnaElvira
steel themselves before entering. At Giovannis celebration, Zerlinas
screams interrupt the dancing revelers, and Giovanni falsely accuses
Masetto of attacking her. Donna Anna, Don Ottavio and Donna Elvira
revealtheiridentitiesandconfrontDonGiovanni,whomanagestoescape.

ActII
Leporello threatens to leave Don Giovannis service, but Giovanni
convinces him to stay and help him seduce Donna Elviras maid.
ExchangingclotheswithLeporello,DonGiovanniserenadesthemaidwhile
Leporello,dressedasGiovanni,divertsDonnaElvira.Giovanni,stilldressed
asLeporello,encountersMasettoleadinganvengefulmobinsearchofthe
Don. After Don Giovanni dupes Masetto and makes his escape, Zerlina
comfortsherbatteredfiance.Leporello,disguisedasGiovanni,istryingto
fleeElvirawhenheistrappedbyOttavio,Anna,Zerlina,andMasetto,who
believe theyve finally captured Giovanni. Leporello reveals his identity,
pleads for mercy, and finally escapes. Ottavio reaffirms his intention to
avenge Donna Anna, and Elvira, left alone, laments her betrayal by
Giovanni. Meeting up in a cemetery, Don Giovanni and Leporello
encounterastatueoftheslainCommendatore.GiovanniordersLeporello
toinvitethestatuetodinner,and,toLeporelloshorror,thestatuenodsits
acceptance.DonOttavioreassuresDonnaAnnathatherfathersdeathwill
soon be avenged, leaving them free to marry. Anna, however, still feels
reluctant to marry so soon after her fathers death. Don Giovanni feasts,
waiteduponbyLeporelloandentertainedbyaband.DonnaElvirabursts
in, urging Don Giovanni to mend his ways, but he scorns her entreaties.
Elvira and Leporello encounter the statue of the Commendatore as it
arrives for dinner. The Commendatore demands that Giovanni atone for
hissins,buthedefiantlyrefuses.Finally,hemeetshisdoom.DonnaAnna,
Don Ottavio, Donna Elvira, Masetto, and Zerlina arrive in search of
Giovanni but find only the stunned Leporello, who reports his masters
bizarrefate.Theyagreethatallevildoersmustmeetsuchaterribleend.

COSFANTUTTE(CD163165)
ACTI
Scene1
The comedy itself begins at a Neapolitan caf at the end of the 18th
century.Twoyoungofficersarearguingwithacynicaloldmanoftheworld
namedDonAlfonso.Hesaysthattheirfianceswillneverprovefaithful
nowomeneverdo.Theyinsisttheideaisunthinkable.FinallyDonAlfonso
offerstoproveshispointforabetofonehundredthousandsequins.The
terms are simply these: for twenty four hours the young men must
faithfully act out whatever Don Alfonso tells them to do. And the scene
endsinthethirdofthreetrios,astheofficersdecidewhattheywilldowith
theirmoneywhentheywinit(iftheydo!).

Scene2
IntroducesustothetwoyoungheroinesFiordiligiandDorabella.Thetwo
sisters are in a garden overlooking the Bay of Naples, and together they
singaboutthebeautyoftheirfiancs,theofficersGuglielmoandFerrando.
Theyareexpectingtheyoungmen,butinsteadoldAlfonsoarrivestotell

them the dreadful news. Their fiancs, says he, have suddenly been
ordered away, to active duty. A moment later these gentlemen enter,
alreadyintravelingclothes.Naturally,afinequintetdevelopsoutofthis,
the four affianced youngsters expressing their sorrow over parting, while
DonAlfonsoassurestheboysthatitstooearlyinthegametocollecttheir
bets.Scarcelyisthequintetoverwhensoldiersandtownsfolkarrivetosing
thejoysofasoldierslife.Fornowitisreallytimefortheyoungmentogo
though not so fast that they cannot take part in one final quintet of
farewell. A repetition of the soldiers chorus, and off they do go, leaving
theirgirlswithAlfonsotowishthembonvoyageinatunefullittletrio.
Thescenecloseswithsomecynicalremarksdeliveredtotheaudienceby
DonAlfonso.Youmayaswell,hesaysineffect,plowtheseaorsowthe
sandasputyourfaithinwomen.

Scene3
Bringsonatoncethesixthandmostengagingmemberofthecast.Sheis
the maid Despina, a coloratura soprano. In a recitative she complains
about how bad it is to have to be a maid, and, while complaining, she
tasteshermistresseschocolate.Thesistersnowentertheirdrawingroom,
andDorabellahasatremendousmockheroicaria,Smanieimplacabili.She
cannotbear,shesays,havingfreshair.Shutthewindows!Shecannotlive
throughhergrief!WhenDespinalearnswhatallthegriefisaboutthatis,
thegirlslovershavegonetowarshegivessomerealDonAlfonsoadvice;
have a good time while they are gone, for they wont prove faithful.
Soldiers never do. Indignantly the girls storm from the room. Enter now
DonAlfonso.Withabribehepersuadesthemaidtohelpinhisplan,which
is to get the girls to look with favor on two new suitors. Ferrando and
Guglielmo appear almost at once, disguised in beards and dressed like
Albanians.Whenthegirlsreturn,AlfonsomakesbelievethattheAlbanians
are old friends, and the two young men try making love to their own
fiances. But the girls will have none of it. In an aria (Come scoglio),
Fiordiligiviolentlydeclareshereternalfaithfulness.Maybe,liketheladyin
Hamlet, she protests too much. At any rate, her aria has the most
astounding range and huge skips peculiar, exaggerated difficulties
especiallycomposedbyMozartforDaPontestalentedmistress,whowas
thefirsttosingit.Guglielmotriestopleadhissuitwithafinetunemuch
to the delight of their fiancs. These (in the ensuing trio) try to get Don
Alfonsotosettleup,buthesaysitsstilltooearly.Ferrando,thetenorof
theteam,thensingsofhishappinessinhislove,andthesceneendswith
DonAlfonsoandDespinamakingfurtherplanstowinthegirlsover.

Scene4
Takesusbacktothegarden.Thetwogirlshaveanothersweetduetabout
how sad they are, when there is noise off stage. Their two lovers, still
disguisedasAlbanians,totterinwithDonAlfonso.Itseemsthattheyhave
taken arsenic because of their hopeless passion. (Of course, they have
reallydonenosuchthing.)DonAlfonsoandDespinaassurethesistersthat
themenwilldiewithouthelpandofftheyrushforadoctor.Whilethey
aregone,thetwogirlsareindelightfulconfusion,takingtheirmenspulses
and giving other pointless first aid. Then Despina returns, disguised with
huge spectacles as a doctor and speaking the most extraordinary jargon.
Finally(andthisisabitofsatireonMesmerstheoryofanimalmagnetism),
shebringsoutahugemagnet;sheappliesittotheprostratebodies;and
miracleofmiracles!theybegintocometo.Theirfirstwordsareoflove;
andthough(inthefinalsextet)thegirlscontinuetoprotest,itisclearthat
DonAlfonsosschemeisbeginningtowork.

ACTII
Scene1
Despina,themaid,offerssomeveryworldlyadvicetohermistressesatthe
beginningofthisact.Inatypicalsoubrettearia,shesaysthatbyfifteenany
girlshouldbeachampionflirt.Shemustencourageeveryman,lieexpertly
andshewillruletheworld.Talkingitover,FiordiligiandDorabelladecide
that this makes sense; no harm in a little flirtation. They thereupon
proceedtodivideup,betweenthemselves,thetwolovestruckAlbanians.
Dorabella chooses the dark one (who is really Guglielmo, engaged to
Fiordiligi);andFiordiligiwilltaketheblond(thatis,Ferrando,engagedto
Dorabella).AndthesceneendsasDonAlfonsoinvitesthemdownintothe
gardentoseesomethingreallyworthseeing.

95010MozartCompleteEdition
60


Scene2
Beginswithaduetsungbythetwoloverstotheirmistresses.Theyareina
boat near the seaside garden, and they have a band of professional
serenaderstohelpthem.Whenthemenland,allfourloversareveryshy,
and Don Alfonso speaks for the Albanians, while Despina takes up the
officeforthegirls.FiordiligiandFerrandowanderoffamongtheflowers,
and Dorabella and Guglielmo are left to carry on the flirtation. It quickly
develops into a melodious duet, and before things have got very far,
Dorabella gives Guglielmo and miniature of her fiance, Ferrando. Then
theywalkoffamongtheflowers,andFiordiligireturns,alone.Apparently
Ferrando has also been making improper advances, but he has been
repulsed,asthesopranotellsusinavirtuosoariaPerpieta.Still,shedoes
notseemtobeconfidentabouthowlongshewillholdout.Andso,when
thethreemenmeettocomparenotes,Guglielmoistriumphant,Ferrando
isdespondent,andAlfonsopromisesfurtherdevelopments.Justwaituntil
tomorrow,hesays.

Scene3
Developssomedifferenceincharacterandtemperaturesbetweenthetwo
sisters. Dorabella has already succumbed to Guglielmos advances, and
Despinacongratulatesher;butFiordiligi,thoughsheadmitsshelovesthe
other supposed Albanian, still resists her feelings. She now decides that
they ought to dress in the uniforms of their lovers and join them at the
front. But scarcely is she decked out in this warlike garb when Ferrando
rushesin.Hebegshertokillhimwiththeswordratherthandenyherlove,
andheoffersmarriageanythingshewants.Fiordiligi,alreadyweakened,
finally succumbs, and they rush off. But her fianc, Guglielmo, has been
watching with Don Alfonso. It is now the second lovers turn to be in
despair, and he curses out the girl thoroughly in her absence. Nor is he
more pleased when his selfsatisfied friend, having deposited Fiordiligi
somewhere, returns. But Don Alfonso soothes them both. In a short
speech he advises them to marry their fiances after all, for, as he says,
CosifantutteAllwomenactlikethat!Togethertheyrepeatthissolemn
generalization: cosi fan tutte, and the scene ends as Despina announces
thattheladiesarereadytomarrytheAlbanians.

Scene4
Despina and Don Alfonso are directing the servants in preparing a large
room for the wedding, and then they depart. The happy lovers (the men
stillindisguise)arecongratulatedbythechorus,andtheythemselvessing
aselfcongratulatoryquartet.Itconcludeswithathreepartcanon,foronly
Guglielmo stands aside and mutters his dissatisfaction. Now Don Alfonso
introducesthenecessarynotary,whois,ofcourse,Despinaindisguise,and
who brings along the marriage contract. The marriage ceremony is just
beginningwhen,offstage,thesoldierschorusisagainheard.Canitbethe
returning lovers? The girls hide their supposedly new fiancs in the next
room, and a few moments later the men reappear in their military
uniforms. Almost at once Guglielmo deposits his knapsack in the next
room,andfindsDespina,stillgarbedasanotary.Shequicklyexplainsthis
away(saysshehasbeentoafancydressball);butwhenAlfonsocarefully
drops the marriage contract before Ferrando, the jig is up for the girls.
Theyasktodiefortheirguilt.Butthenthetwomenmakeaquickcostume
switchoncemore;GuglielmoreturnsFerrandosportraittoDorabella;and
DonAlfonsofinallyexplainseverything.Theloversareproperlyunitedand
allsixprincipalsjoininappendingamoral:happyisthemanwhocantake
thegoodwiththebadatypicalsentimentfromtheAgeofReason.

DIEZAUBERFLTE(CD166168)
Thoughoperaoverturesintheeighteenthcenturyusuallywerenotlinked
thematicallywiththeoperasthemselves,Mozarthadbeguntoreferinhis
overturestothemoodandeventoethethemesoftheoperatofollow.His
OverturetoTheMagicFlutewascomposedaftertherestoftheworkwas
complete.Themajesticopeningofthreenoblechords(inthekeyofEflat
majorwithitstheeflats,theoperasMasonichomekey)servedtoalerthis
listeners immediately to expect something more than the usual
Schikanedertype farce. Indeed, the operas Overture reveals the entire
story in microcosm. The three imposing chords are folloed by a short,
somewhatruminativeAdagio,whichgiveswaytoamagnificentlyworked
outfugue,thefirstinanyMozartoverture.(Thesubjectisborrowedfrom
thesonataClementiplayedinthefamousmusicalcompetitionthathelost

toMozartintheemperorspresencein1781.Mozartalsomadereference
tothethemeinhisPragueSymphony.)Afterthethemes(allrelatedto
the basic fugue subject) have been cited, the wind instruments solemnly
pronounce the Masonic motto three times. The fugue resumes, now
modulating far afield, just as Tamino and Pamina must make journeys in
theirtrialsofpurifiction.Theirtriumphandglorificationareevidentinthe
coda, which returns to Eflat major and ends with the three symbolic
chords.

Act1.
Thesceneisarockyarea,withmountainsoneithersideofthestageanda
temple. Pursued by a large serpent, young prince Tamino faints in terror
(Zu Hlfe! Zu Hlfe!). Three veiled Ladies, who emerge from a nearby
temple,killthemonsterwithsilverspears.Eachthenwishestostaywith
the handsome young man while the others go for help, but since they
cannotagree,allthreego.Onrecovering,TaminoencounterstheQueens
birdcatcher,Papageno(DerVogelfngerbinichja),whotakescreditfor
killingtheserpent.TheLadiesreturnintimetohearhislieandpunishhim
by locking his mouth with a golden padlock. They then give Tamino a
portrait of Pamina, the Queens abducted daughter, with whom he
immediatelyfallsinlove(DiesBildnisistbezauberndschn).TheQueen
oftheNightherselfnowappearsandtellsTaminothathehasbeenchosen
tosavePaminafromherevilcaptorSarastro,promisinghimherhandifhe
cansetherfree(Ozittrenicht).OntheQueensinstructions,theLadies
removePapagenospadlockandtellhimheistobeTaminoscompanionin
hisquest.TheygivetohimasetofmagicbellsandtoTaminoamagicflute
to protect them in their adventure (Quintet). The scene changes to a
splendid Egyptianstyle room in Sarastros palace, where the brutish
MonostatoshasPaminaputinchains(DufeinesTubchen,nurherein),
planning to force his intentions on her. Papageno enters, however, and
frightens him away; then he takes Pamina off to find Tamino (Duet, Bei
Mnnern,welcheLiebefhlen).ThePrince,meanwhile,hasbeenledby
ThreeBoystoagroveinwhichstandthreebeautifultemples(beginningof
the first act finale, Zum Ziele fhrt dich diese Bahn). Mysterious voices
warn him away from entering either of the first two, and from the third
temple the Priest emerges to challenge him (Wo willst du khner
Fremdling hin?). Confused by hints that he has been deceived by the
QueenoftheNight,butreassuredbytheunseenvoicesthatPaminaisstill
alive,Taminoplayshisflutetoexpresshisgratitude,attractinganaudience
of animals (Wie stark is nicht dein Zauberton). Papageno and Pamina,
trying to follow the sound of the flute, are caught and threatened by
Monostatos, but the music of Papagenos magic bells send him and his
slaves dancing away (Das klinget so herrlich). Sarastro nowenters with
hispriests.HetellsPaminathatheabductedhertoremoveherfromher
mothers baleful influence. Monostatos has captured Tamino meanwhile,
butisrewardedbySarastrowithabeating.TaminoandPapageno,whose
heads have been covered, are then taken into the temple to prepare for
initiation(WennTugendundGerechtigkeit).

Act2.
To the sounds of a stately march (Marsch der Priester), Sarastro and a
band of priests emerge into a palm grove. There he asks his followers to
allow the postulants to attempt the initiation trials, involking divine
protectionforthem(OIsisundOsiris).Inthetemplecourtyardatnight,
TaminoanPapagenobegintheirtrials.Warnednottospeakandtobeware
of womens wiles (Bewahret euch vor Weibertcken), they are
confrontedbytheThreeLadies,whotrytowinthembacktotheQueens
service (Wie? Wie? Wie?). The terrified Papageno proves less resolute
than Tamino at keeping silent. Sleeping in a moonlit garden, Pamina is
menaced by the lecherous Monostatos (Alles fhlt der Liebe Freuden),
but the Queen of the Night appears and frightens him off. Learning that
Tamino now intends to join the priests rather than opposing them, she
givesPaminaadaggerandcommandshertokillSarastro(DerHlleRache
kocht in meinem Herzen). After she leaves, Monostatos tries again to
overpower Pamina, but he is prevented this time by Sarastro. Pamina
pleadsformercyforhermother,andSarastroassuresherthatthereisno
room in his domain for revenge or hatred (In diesen heilgen Hallen).
TaminoandPapagenoareremindedbypriestsofthenecessityofsilence,
butPapagenoissoonchatteringawaywithanoldwomanwhobringshim
water.ShetellsPapagenothatheishersweetheart,butiswarnedawayby
aclapofthunderbeforeshecanrevealhername.TheThreeBoysappear,

95010MozartCompleteEdition
61


bringingthetwomenafeastandtheirmagicinstruments(Seidunszum
zweitenmal willkommen). Pamina finds her way to them but is heart
brokenwhenTaminorefusestospeaktoher(Ach,ichfhls).Trumpets
andtrombonesplaythesymbolicthreefoldchord,summoningthemento
their next trial. Papageno is reluctant to leave his dinner, until Sarastros
lionsscarehimoff.Thescenechangestoasubterraneanvault,wherethe
priests,eachcarryingatransparentpyramid,invokethegodsinabeautiful
threepart chorus, praying Tamino will withstand the trials and join the
Brotherhood (O Isis Und Osiris, welche Wonne!). Sarastro commends
Taminoforhisstrengthandprepareshimfortwofurthertrials.Paminais
brought in for a sorrowful farewell (Soll ich dich, Teurer, nicht mehr
sehn?). Lost in the temple, Papageno laments his lot. The Speaker tells
himthatalthoughhedeservespunishment,thegodsareforgiving,buthe
willneverachievefullinitiation.Enjoyingalargegobletofwine,Papageno
longs for a mate (Ein Mdchen oder Weibchen). The old woman
reappears and says that she is the chosen mate. Securing his unwilling
pledgeofloyalty,sheturnsintotheyoungand prettybirdgirlPapagena,
butthepriestsendsheraway,sayingthatPapagenoisnotyetworthyof
her. In the garden the Three Boys liken the rising sun to noble peace
triumphing over ignorance (beginning of the Finale, Bald prangt, den
Morgenzuverknden).Paminaenters,franticwithgrief,butisprevented
from committing suicide by their assurance that Tamino still loves her
despitehissilence.

Taminoisledtoadesolateplacesurroundedbymountainpeaks.Hefinds
twomeninfullarmor,theirhelmetstoppedwithflames,guardingagate.
Theysingachorale(Der,welcherwandertdiesStrasse),challenginghim
tocompletethetrialsandjointheEnlightened.Paminafearlesslychooses
toaccompanyhim.Revealingthathismagicflutewascarvedbyherfather,
she takes Taminos hand and leads him through the gate (Wir wandeln
durch des Tones Macht). As he plays the flute, they pass unharmed
throughragingflamesandrushingtorrents.Thepriestlychorusrejoicesin
their success (Triumph! Du edles Paar). Papageno, despairing of ever
finding Papagena again, is dissuaded from hanging himself by the Three
Boys (Halt ein!), who remind him to use his magic bells. The sound
restoreshertohim,andthetwohappilyplantoraisealargefamily(PaPa
Pa Papagena! PaPaPaPapageno!). The Queen of the Night, appearing
withherLadies,promisesPaminatoMonostatosifhewillhelpabducther.
As they prepare to storm the temple (Nur stille! stille! stille!), a great
rumble of thunder and rushing water arises, and the conspirators are
swallowedupbytheearth.Thesceneimmediatelychangestothedazzling
templeofthesun,inwhichSarastroandhispriestswelcomeTaminoand
Pamina.Thefinalchorus(HeilseieuchGeweihten!)givesthankstoIsis
and Osiris for the victory of Beauty and Wisdom over the power of
darkness.
NickJones

LACLEMENZADITITO(CD169170)
ActOne
Vitellia plots to assassinate the Emperor Titus, whose father, Vespasian,
haddethronedherfather,Vitellius.Herhopesofreturningtothethroneas
theconsortofTitushavecometonothingbecauseTituswishestomarry
Berenice,thedaughteroftheKingofJudaea.Forthisreasonherlovefor
Titushasturnedintohatred.Sheattempstopersuadetheclosestfriendof
Titus, Sextus, who is in love with her, to murder the Emperor, promising
him love and marriage. After some hesitation, Sextus declares himself
willing to comply with her request (Come ti piace imponi). When Annius
brings news of Berenices departure, Vitellias hope revive, and for the
moment she defers the assassination plot. She tells Sextus to trust her
implicitly(Dehsepiacermivuoi).AnniusasksSextustoobtainpermission
fromTitusforhisplannedmarriagewithServilia,thesisterofSextus,and
both reconfirm their frienship (Deh prendi un dolce amplesso). In the
ForumRomanumthepeopleacclaimTitusandbeseechthegodstoprotect
theEmperorandthecity(Serbate,ohDeicustodi).

Afterthecrowdhasdeparted,TitusrevealstoSextusandAnniusthathe
intends to marry Servilia that very day. To the great surprise of Sextus,
Anniusdoesnotprotest.Infact,hecongratulatesTitusforhischoice.With
this marriage Titus hopes to bind his friend Sextus even closer to the
throne (Del pi`u sublime soglio). At the behest of Titus, Annius brings

ServiliathenewsthatsheistobecomeEmpress.Bothoncemoreconfess
their love for each other (Ah perdona al primo affetto). In the imperial
palace Publius attempts to draw the attention of Titus to a list of
conspirators. Servila enters and asks Titus not to marry her, for she is in
lovewithAnnius.Titusisdelightedthatshehashadthecouragetotellhim
thetruth(Ah,sefosseintornoaltrono).

Vitellia, who has heard of Servilias supposed good fortune, once again
pleads with Sextus to assassinate Titus: she would be the reward. Sextus
cannolongerresist,forherpoweroverhimistoostrong(Parto,matuben
mio).ImmediatelyafterSextushasleft,AnniusandPubliustellVitelliathat
Titushasnowchosenhertobehisconsort.Vitelliaisindespair:shecanno
longerrecallSextus,andtheattempttoassassinateTitustakesitscourse
(Vengo...aspettate...).HavingreachedtheForumRomanum,Sextusisstill
in two minds about wether to murder Titus. However, the conspirators
have already set fire to the Capitol, and he is forced to act (Oh Dei, che
smania `e questa).While the fire spreads, and the people begin to utter
criesofterror,SextustellsVitelliathathehascarriedoutthemurder,and
she implores him to be silent. All bewail the terrible events (Deh,
conservate,ohDei).

ActTwo
Annius brings the news that Titus has survived the attempt on his
life.WhenSextusconfessesthatitwashewhotriedtomurderhim,Annius
advises him to throw himself at the mercy of Titus (Torna di Tito a lato).
Vitellia,whoisafraidthatherroleintheplotwillalsocometolight,urges
Sextus to flee. However, it is too late, Publius arrests Sextus in order to
leadhimtotheSenateforquestioning.Vitelliaistornbetweencontrition
and fear for her own safety (Se al volto mai ti senti). In the audience
chamber of the palace the patricians and the people thank the gods for
savingTitusslife(Ahgraziesirendano).

TitusisunwillingtobelievethatSextusisguilty.Publiusputsthisdownto
Titussmagnanimouscharacter(Tardisavede).Butwhenthenewsarrives
that Sextus has confessed to everything in the Senate, and that he has
been condemned to die in the arena, Titus is forced to accept the truth.
Annius asks him to think of the pain of others (Tu fosti tradito), but his
request goes unheeded. The wounds inflicted on love and friendship by
unfaithfulness,treasonandmurderarestillmuchtoodeep. However,he
wishestoquestionSextusbeforesigningthedeathwarrant(Cheorror!che
tradimento!).Whentheymeet,eachseekstofindinthefaceoftheother
tracesoftheirformerfriendship(QuellodiTito`eilvolto!).

TituswishestodiscoverfromSextusthereasonforwhathehasdoneasa
friend,notasarulerHowever,SextuscontinuestoshieldVitelliaandtakes
all the blame upon himself. Titus interprets this as ungratefulness and
stubbornness, and has him led off to the arena. Sextus is not afraid of
death; he is merely tormented by unending remorse (Deh per questo
istante solo). In a soliloquy Titus veers between duty and emotion. The
lawstellshimthatheoughttosignthedeathwarrant,butintheendhis
betternaturetriumphs:hecanonlyreignifhispowerrestsonlove,andhe
considersfaithfulnessthatresultsfromfeartobeworthless(Seallimpero,
amiciDei).

AnniusandServiliaaskVitelliatouseherinfluenceasTitussfutureconsort
to obtain a pardon for Sextus. Servilia accuses her of cruelty, for tears
alone cannot save the life of Sextus (Saltro che lacrime). Vitellia realizes
thathehasnotbetrayedher,andthathewilldieforherifshedoesnot
confesstoherguilt(Eccoilpunto,oVitellia).Sheabandonsherhopesof
marriage and power (Non pi`u di fiori). In front of the amphitheatre the
people acclaim the Emperor and compare him to the gods (Che del ciel,
che degli Dei).Before Titus can pronounce the pardon for Sextus that he
had already decided upon, Vitellia accuses herself publicly of being the
instigator of the conspiracy. Titus is taken aback by this new case of
treason. Once again he has to struggle with his conflicting emotions.
However,hedoesnotwishtobeforcedtotakerevenge.Thus,inaddition
to Sextus, he pardons all the others conspirators (Ma che giorno `e mai
questo?).InthegeneralchorusofpraiseforTitus,thelatterasksthegods
to take his life on the day when the wellbeing of Rome is no longer his
greatestconcern(tu,`ever,massolvi).

95010MozartCompleteEdition
62

Sungtexts

NOTTURNIK436,437,438,439,346,549
(CD45)
IK346
Lucicare,lucibelle,
carilumiamatestelledatecalmaaquesto
core,
datecalmaaquestocore.
Sepervoisospiromoroidolmio,
miobeltesoroforzaeloDiodamore,
forzaesoldelDiodamore.

IIK438
Selontanbenmiotuseisoneterniidperme,
soneterniidperme,selontantuseison
eterniidperme!
Sonmomentiigiornimieiidolmoi,
vicinoate,idolmoi,vicinoate,vicinoate,
vicinoate.

IIIK439
Duepupileamabilimhanpiegatoilcoreese
pieta
nonchiedoaquellelucibelleperquelle,
si,perquelleiomorirdamore,esepiet
nonchiedoaquellelucibeleperquelle,
si,perquelleiomorirdamor,morir,morir

IVK549
Pinonsitrovanoframilleamanti
sotduebellanime,chesianconstanti,
etutialleparlanodfedelt,etuttiparlanod
fedelt!
Eilreocostumetantosavanza,chela
constanza
dichibenamaormaisichiamasemplicit,
ormaisichiamasemplicit,sichiama
semplicit,
sichiamasemplicit,sichiamasemplicit.

VK436
Eccoquelfierointante,Nice,miaNiceaddio
Comevivr,beno,coslontandate,
come,come,coslontandate?
Iovivrsemprepene,iononavrpibenee
tu,
chisaaemaitisovverraidime,etu,
chisasemaitisovverrai,tisovverraidime!
Eccoquelfieroistante;Nice,miaNiceaddio.
Comevivrbenmio,coslontandate,
come,come,coslontandate,coslontandat
te,coslontandate?

VIK437
Milagnertacendodellamiasorteavara,
dellamiasorteavara;machionontami,o
cara,
nonlosperardame,nonsperar,nonlosperar,
sperarame,machionontami,nonlosperar,
nonlosperardame,nonlosperardame!
Crudele,inchetoffendo,crudele,inche
toffendo,
serestaaquestopettoilmiserodiletto,
disospirarperte,disospirarperte?

REQUIEMK626(CD97)
1.Requiemaeternamdonaeis,Domine,
etluxperputualuceateis.
Tedecethymnus,Deus,inSion,
ettibireddeturvotuminJerusalem:
exaudiorationemmeam,
adteomniscaroveniet.
Requiemaeternamdonaeis,Domine,
etluxperpetualuceateis.

2.Kyrieeleison.
Christe,eleison.
Kyrieeleison.

3.Diesirae,diesilla
Solvetsaecluminfavilla,
TesteDavidcumSibylla.
Quantustremorestfuturus,
Quandojudexestventurus,
Cunctastrictediscussurus!

4.Tuba,mirumspargenssonum
Persepulcraregionum,
Cogetomnesantethronum.
Morsstupebitetnatura,
Cumresurgetcreatura,
Judicantiresponsura.
Liberscriptusproferetur,
Inquototumcontinetur,
Undemundusjudicetur.
Judexergocumsedebit,
Quidquidlatet,apparebit,
Nilinultumremanebit.
Quidsummisertuncdicturus?
Quempatronumrogaturus,
CumvixJustussitsecurus?

5.Rextremendaemajestatis
quisalvandossalvasgratis
salvame,fonspietatis.

6.Recordare,Jesupie,
Quodsumcausatuaeviae,
Nemeperdasilladie.
Quaerensme,sedistilassus,
Tantuslabornonsitcassus.
Justejudexultionis,
Donumfacremissionis
Antediemrationis.
Ingemisco,tamquamreus,
Culparubetvultusmeus,
Supplicantiparce,Deus.
QuiMariamabsolvisti,
Etlatronemexaudisti,
Mihiquoquespemdedisti.
Precesmeaenonsuntdignae,
Sedtubonusfacbenigne,
Neperennicremerigne.
Interoveslocumpraesta,
Etabhaedismesequestra,
Statuensinpartedextra.

7.Confutatismaledictis,
Flammisacribusaddictis,
Vocamecumbenedictis.
Orosupplexetacclinis,
Corcontritumquasicinis,
Gerecurammeifinis.

95010MozartCompleteEdition
63

8.Lacrimosadiesilla,
Quaresurgetexfavilla
Judicandushomoreus.
Huicergoparce,Deus,
PieJesuDomine,
Donaeisrequiem.Amen.

9.DomineJesuChriste,Rexgloriae,
liberaanimasomniumfidelium
defunctorumdepoenisinferni
etdeprofundolacu,
liberaeasdeoreleonis,
neabsorbeateastartarus,
necadantinobscurum,
sedsignifersanctusMichael
repraesenteteasinlucemsanctam,
QuamolimAbrahaepromisisti
etseminiejus.

10.Hostiasetprecestibi,Domine,
laudisofferimus:
tususcipeproanimabusillis,
quarumhodiememoriamfacimus:
faceas,Domine,demorte
transireadvitam.
quamolimAbrahaepromisisti
etseminiejus.

11.Sanctus,Sanctus,Sanctus
DominusDeusSabaoth.
Plenisuntcoelietterragloriatua.
Hosannainexcelsis.

12.BenedictusquivenitinnomineDomini.
Hosannainexcelsis.

13.AgnusDei,quitollispeccatamundi,
donaeisrequiem.
AgnusDei,quitollispeccatamundi,
donaeisrequiem.
AgnusDei,quitollispeccatamundi,
donaeisrequiemsempiternam.

14.Luxaeternaluceateis,Domine,
CumSanctistuisinaeternum,
quiapiuses.
Requiemaeternamdonaeis,Domine,
etluxperpetualuceateis.
CumSanctustuisinaeternum,
quiapiuses.

LITANIAEKV109234(CD98)
1.Kyrieeleison.
Christeeleison.
Kyrieeleison.
Christeaudinos,Christeexaudinos.
PaterdecoelisDeus,misererenobis.
FiliRedemptormundiDeus,miserere
nobis.
SpiritusSancteDeus,misererenobis.
SanctaTrinitas,unusDeus,miserere
nobis.

2.Panisvivus,quidecoelodescendisti
DeusabsconditusetSalvator,
misererenobis.
Frumentumelectorum,
vinumgerminansvirgines,
panispinguisetdeliciaeregum,


misererenobis.
Jugesacrificium,oblatiomunda,
agnusabsquemacula,
misererenobis.
Mensapurissima,angelorumesca,
mannaabsconditum,misererenobis.
MemoriamirabiliumDei,
panissuperstubstantialis,
misererenobis.

3.Verbumcarofactum,
habitansinnobis,
misererenobis.

4.Hostiasancta,calixbenedictionis,
Misererenobis.
Mysteriumfidei,misererenobis.
PraecelsumetvenerabileSacramentum,
misererenobis.
Sacrificiumomniumsanctissimum,
verepropitiatoriumproviviset
defunctis,
misererenobis.
Coelesteantidotum,quoapeccatis
praeservamur,Misererenobis.
Stupendumsupraomniamiracula,
misererenobis.
SacratissimaDominicaepassionis
commemoratio,
donumtransscendensomnem
plenitudinem,
memorialepraecipuumdiviniamoris,
divinaeaffluentialargitatis,misererenobis.
Sacrosanctumetaugustissimum
mysterium,
pharmacumimortalitatis,misererenobis.

5.TremendumacvivificumSacramentum,
Misererenobis.

6.Panisomnipotentiaverbicarofactus,
incruentumsacrificiumcibusetconviva,
Misererenobis.
Dulcissimumconvivium,
cuiassistuntAngeliministrantes,
Misererenobis.
Sacramentumpietatis,vinculum
caritatis,
offerensetoblatio,
spiritualisdulcedoinpropriofonte
degustata,
misererenobis.
Refectioanimarumsanctarum,miserere
nobis.

7.ViaticuminDominomorientium,
Misererenobis.

8.Pignusfuturaegloriae,misererenobis.

9.AgnusDei,
quitollispeccatamundi,
parcenobisDomine.
AgnusDei,
quitollispeccatamundi,
exaudinosDomine.
AgnusDei,
quitollispeccatamundi,
misererenobis.

10.Kyrieeleison.
Christeeleison.
Kyrieeleison.
Christeaudinos,Christeexaudinos.
PaterdecoelisDeus,misererenobis.
FiliRedemptormundiDeus,misererenobis.
SpiritusSancteDeus,misererenobis.
SanctaTrinitas,unusDeus,misererenobis.

11.SanctaMaria,orapronobis.
SanctaDeigenitrix,sanctaVirgo
virginum,
orapronobis.
MaterChristi,materdivinaegratiae,
materpurissima,matercastissima,ora
pronobis.
Materinviolata,materintemerata,ora
pronobis.
Materamabilis,materadmirabilis,
MaterCreatoris,materSalvatoris,
orapronobis.
Virgoprudentissima,virgoveneranda,
virgopraedicanda,orapronobis.
Virgopotens,virgoClemens,
virgofidelis,orapronobis.
Speculumjustitiae,sedesapientiae,
causanostraelaetitiae,orapronobis.
Vasspirituale,vashonorabile,
vasinsignedevotionis,orapronobis.
Rosamystica,turrisDavidica,orapro
nobis.
Turriseburnea,domusaurea.
Foederisarca,januacoeli,
stellamatutina,orapronobis.

12.Salusinfirmorum,refugium
peccatorum,
consolatrixafflictorum,orapronobis.
AuxiliumChristianorum,orapronobis.

13.ReginaAngelorum,orapronobis.
ReginaPatriarcharum,
ReginaProphetarum,orapronobis.
ReginaApostolorum,orapronobis.
ReginaMartyrum,orapronobis,
ReginaConfessorum,ReginaVirginum,
orapronobis.
ReginaSanctorumomnium,orapro
nobis.

14.AgnusDei,
quitollispeccatamundi,
parcenobisDomine.
AgnusDei,
quitollispeccatamundi,
exaudinosDomine.
AgnusDei,
quitollispeccatamundi,
misererenobis.

LITANIAEKV125195(CD99)
1.Kyrieeleison.
Christeeleison.
Kyrieeleison.
Christeaudinos,Christeexaudinos.
PaterdecoelisDeus,misererenobis.
FiliRedemptormundiDeus,miserere
nobis.
SpiritusSancteDeus,misererenobis.

95010MozartCompleteEdition
64

SanctaTrinitas,unusDeus,miserere
nobis.

2.Panisvivus,quidecoelodescendisti
DeusabsconditusetSalvator,
misererenobis.
Frumentumelectorum,
vinumgerminansvirgines,
panispinguisetdeliciaeregum,
misererenobis.
Jugesacrificium,oblatiomunda,
agnusabsquemacula,
misererenobis.
Mensapurissima,angelorumesca,
mannaabsconditum,misererenobis.
MemoriamirabiliumDei,
panissuperstubstantialis,
misererenobis.

3.Verbumcarofactum,
habitansinnobis,
misererenobis.

4.Hostiasancta,calixbenedictionis,
Misererenobis.
Mysteriumfidei,misererenobis.
PraecelsumetvenerabileSacramentum,
misererenobis.
Sacrificiumomniumsanctissimum,
verepropitiatoriumproviviset
defunctis,
misererenobis.
Coelesteantidotum,quoapeccatis
praeservamur,
Misererenobis.
Stupendumsupraomniamiracula,
misererenobis.
SacratissimaDominicaepassionis
commemoratio,
donumtransscendensomnem
plenitudinem,
memorialepraecipuumdiviniamoris,
divinaeaffluentialargitatis,miserere
nobis.
Sacrosanctumetaugustissimum
mysterium,
pharmacumimortalitatis,misererenobis.

5.TremendumacvivificumSacramentum,
Misererenobis.

6.Panisomnipotentiaverbicarofactus,
incruentumsacrificiumcibusetconviva,
Misererenobis.
Dulcissimumconvivium,
cuiassistuntAngeliministrantes,
Misererenobis.
Sacramentumpietatis,vinculum
caritatis,
offerensetoblatio,
spiritualisdulcedoinpropriofonte
degustata,
misererenobis.
Refectioanimarumsanctarum,miserere
nobis.

7.ViaticuminDominomorientium,
Misererenobis.

8.Pignusfuturaegloriae,misererenobis.


9.AgnusDei,
quitollispeccatamundi,
parcenobisDomine.
AgnusDei,
quitollispeccatamundi,
exaudinosDomine.
AgnusDei,
quitollispeccatamundi,
misererenobis.

10.Kyrieeleison.
Christeeleison.
Kyrieeleison.
Christeaudinos,Christeexaudinos.
PaterdecoelisDeus,misererenobis.
FiliRedemptormundiDeus,miserere
nobis.
SpiritusSancteDeus,misererenobis.
SanctaTrinitas,unusDeus,misererenobis.

11.SanctaMaria,orapronobis.
SanctaDeigenitrix,sanctaVirgo
virginum,
orapronobis.
MaterChristi,materdivinaegratiae,
materpurissima,matercastissima,ora
pronobis.
Materinviolata,materintemerata,ora
pronobis.
Materamabilis,materadmirabilis,
MaterCreatoris,materSalvatoris,
orapronobis.
Virgoprudentissima,virgoveneranda,
virgopraedicanda,orapronobis.
Virgopotens,virgoClemens,
virgofidelis,orapronobis.
Speculumjustitiae,sedesapientiae,
causanostraelaetitiae,orapronobis.
Vasspirituale,vashonorabile,
vasinsignedevotionis,orapronobis.
Rosamystica,turrisDavidica,orapro
nobis.
Turriseburnea,domusaurea.
Foederisarca,januacoeli,
stellamatutina,orapronobis.

12.Salusinfirmorum,refugiumpeccatorum,
consolatrixafflictorum,orapronobis.
AuxiliumChristianorum,orapronobis.

13.ReginaAngelorum,orapronobis.
ReginaPatriarcharum,
ReginaProphetarum,orapronobis.
ReginaApostolorum,orapronobis.
ReginaMartyrum,orapronobis,
ReginaConfessorum,ReginaVirginum,
orapronobis.
ReginaSanctorumomnium,orapro
nobis.

14.AgnusDei,
quitollispeccatamundi,
parcenobisDomine.
AgnusDei,
quitollispeccatamundi,
exaudinosDomine.
AgnusDei,
quitollispeccatamundi,
misererenobis.

VESPERAESOLENNESKV321339(CD100)
1.DixitDominusDominomeo:Sedeadextris
meis:
Donecponaminimicos
tuos,scabellumpedumtuorum.
VirgamvirtutistuaeemittetDominusexSion:
dominareinmedioinimicorumtuorum.
Tecumprincipiumindievirtutistuae
Insplendoribussanctorum:exutero
Anteluciferumgenuite.
JuravitDominus,etnonpoenitebiteum:
Tuessacerdosinaeternumsecundum
ordinemMelchisedech:
Dominusadextristuis,
Confregitindieiraesuaereges.
Judicabitinnationibus,implebitruinas:
conquasabitcapitainterramultorum.
Detorrenteinviabibet:
proptereaexaltabitcaput.
GloriaPatri,etFilio,
EtSpirituiSancto.
Sicuteratinprincipio,etnunc,etsemper,
etinsaeculasaeculorum.
Amen.

2.ConfitebortibiDomineintotocordemeo:
inconsiliojustorum,etcongregatione.
MagnaoperaDomini;
exquisitainomnesvoluntatesejus.
Confessioetmagnificentiaopusejus:
etjustitiaejusmanetinsaeculum
saeculi.
Memoriamfecit,mirabiliumsuorum,
misericorsetmiseratoretjustus:
escamdedittimentibusse.
Memoreritinsaeculumtestamentisui:
virtutemoperumsuorumannuntiabit
populosuo.
Utdetillishereditatemgentium:
operamanuumejusveritasetjudicium.
Fideliaomniamandataejus,
confrimatainsaeculumsaeculi:
factainveritateetaequitate.
RedemptionemmisitDominuspopulosuo:
mandavitinaeternumtestamentumsuum.
Sanctumetterribilenomenejus:
initiumsapientiaetimorDomini.
Intellectusbonusomnibusfacientibuseum:
laudatioejusmanetinsaeculumsaeculi.
GloriaPatri...

3.Beatusvir,quitimetDominum:
inmadatisejusvoletnimis.
Potensinterraeritsemenejus,
generatiorectorumbenedicetur.
Gloriaetdivitiaeindomo
etjustitiaejusmanetinsaeculum
saeculi.
Exortumestintenebrislumenrectis:
misericors,etmiserator,etjustus.
Jucundushomoquimisereturet
commodat.
Disponetsermonessuosinjudicio.
Quiainaeternumnoncommovebitur.
Inmemoriaaeternaeritjustus:
abauditionemalanontimebit.
ParatumcorejussperareinDomino.
Noncommovebiturdonecdespiciat
inimicossuos.
Dispersit,deditpauperibus:
justitiaejusmanetinsaeculumsaeculi:

95010MozartCompleteEdition
65

cornuejusexaltabituringloria.
Peccatorvidebit,etirascetur,
dentibussuisfremetettabescet:
desideriumpeccatorumperibit.
GloriaPatri....

4.LaudatepueriDominum:
laudatenomenDomini.
SitnomenDominibenedictum,
exhocnunc,etusqueinsaeculum.
Asolisortuusqueadoccasum,
laudabilenomenDomini.
ExcelsussuperomnesgentesDominus,
etsupercoelosgloriaejus.
QuissicutDominusDeusnoster,
quiinaltishabitat,ethumiliarespicit
incoeloetinterra?
Suscitansaterrainopem,
etdestercoreerigenspauperem:
Utcolloceteumcumprincipibus
populisui.
Quihabitarefacitsterilemindomo,
matremfiliorumlaetantem.
GloriaPatri...

5.LaudateDominumomnesgentes:
laudateeumomnespopuli.
Quoniamconfirmataestsupernos
misericordiaejus:etveritasDomini
manetinaeternum.
GloriaPatri...

6.MagnificatanimameaDominum.
EtexsultavitspiritusmeusinDeo
salutarimeo.
Quiarespexithumilitatemancillaesuae:
ecceenimexhocbeatam
medicentomnesgenerationes.
Quiafecitmihimagnaquipotensest:
etsanctumnomenejus.
Etmisericordiaejus
aprogenieinprogeniestimentibuseum.
Fecitpotentiaminbrachiosuo:
dispersitsuperbosmentecordissui.
Deposuitpotentesdesede,
etexaltavithumiles.
Esurientesimplevitbonis:
etdivitesdimisitinanes.
SuscepitIsraelpuerumsuum,
recordatusmisericordiaesuae.
Sicutlocutusestadpatresnostros,
Abrahametseminiejusinsaecula.
GloriaPatri...

REGINACOELIKV108127276SANCTA
MARIAKV273(CD101)
Reginacoeli
Reginacoelilaetare,alleluja.
Quiaquemmeruisti,portare,alleluja,
resurrexit,sicutdixit,alleluja.
Ora,pronobisDeum,alleluja.

SanctaMaria,materDei,K273
SanctaMaria,
materDei,
egoomniatibidebeo,
sedabhachorasingulariter
metuisservitiisdevoveo,
tepatronam,
tesospitatricemeligo.


Tuushonoretcultusaeternum
mihicordifuerit,
quemegonunquamdeseram
nequeabaliismihisubditis
verbofactoqueviolaripatiar.
SanctaMaria,
tupiamepedibustuis
advolutumrecipe,
invitaprotege,
inmortisdiscriminedefende.
Amen.

OFFERTORIA(CD102)
Scandecoelilimina,K34
1.I.Aria
Scandecoelilimina,
animasanctissima,
perlampadumluces,
quossuperiduces
itinerisobviamdant.
Sedquaeso?
Quidnati?
Quitactiamore,
afflictidolore,
hicorphanistant.

2.II.Coro
Caraopignora,
protegamvos,
coeliutpatria
societnos.

InternatosmulierumK72
3.Internatosmulierumnonsurrexitmajor
JoanneBaptista,quiviamDomino
praeparavitineremo.
EcceagnusDei,quitollitpeccatamundi.
Alleluja.

BenedictussitDeusK.117
4.Coro
BenedictussitDeusPater,
unigenitusqueDeiFilius,
SanctusquoqueSpiritus;
quiafecitnobiscum
misericordiamsuam.

5.Aria
Introibodominumtuam,Domine,
inholocaustis
reddamtibivotamea,
quaedistinxeruntlabiamea.

6.Coro
JubilateDeoomnisterra.
Psalmumdicitenominieius,
dategloriamlaudieius.

Subtuumpraesidium,K198
7.Subtuumpraesidiumconfugimus,
sanctaDeigenetrix.
Nostrasdeprecationes
nedespicias
innesessitatibusnostris,
sedapericuliscunctis
liberanossemper.
Virgogloriosa,
etbenedicta,
Dominanostra,
mediatrixnostra,

advocatanostra.
Tuofilio
nosreconcilia,
noscommenda,
nosrepraesenta.

MisericordiasDomini,K222
8.MisericordiasDomini
cantaboinaeternum.

Venite,populiK260
9.Venite,populi,venite,delongevenite,
etadmiraminigentesanalianatio,tam
grandis,
quaehabetDeos,appropinquantes,
sibisicutDeus,DeusnosterDeosadestnobis,
cujusinaraverampraesentiam
contemplamurjugiter
perfidemvivam;analianatiotamgrandis?
Osorscunctisbeatior,solafidelium,
quibuspanisfractioetcaliciscommunioest
inauxilium.
Ejaergoepulemurinazymisveritatiset
sinceritatis
etinebriemur,vinolaetitiaesempiternae,
analianatiotamgrandis?
Venitepopuli,venite!

AlmaDeicreatoris
10.AlmaDeicreatorissedetreipeccatoris
mater
clementissima.
Tufacclermensquodrogamusfortesad
certamina.

Godisourrefuge,K20
11.Godisourrefugeandstrength,
averypresenthelpintrouble.

Miserere,K85
12.Misereremei,Deus,secundummagnam
misericordiamtuam.

13.Amplius,lavameabiniquitatemea:et
apeccatomeomundame.

14.Tibisolipeccavi,etmalumcoramtefeci:ut
justificerisinsermonibustuis,et
vincascumjudicaris.

15.Ecceenimveritatemdilexisti:incertaet
occultasapientiaetuaemanifestastimihi.

16.Audituimeodabisgaudiumetlaetitiam:et
exsultabuntossahumiliata.

17.Cormundumcreainme,Deus:etspiritum
rectuminnova,invisceribusmeis.

18.Reddemihilaetitiamsalutaristui:etspiritu
principaliconfirmame.

19.Liberamedesanguinibus,Deus,salutis
meae:
etexsultabitlinguameajustitiamtuam.

QuaeriteprimumregnumDei,K86
20.QuaeriteprimumregnumDei
etjustitiamejus:
Ethaecomnia

95010MozartCompleteEdition
66

adjicienturvobis.
Alleluja.

ZweideutscheKirchenliederKV343
21.OGottesLamm,deinLeben
HastdualsLsegeld
AmKreuzunsdargegeben;
DustarbstfralleWelt.
WemdasVerdiensthienieden
DesGlaubensduverliehn,
NimmdortzumLohninFrieden
ZudeinenSelgenhin.
Diefrommindirentschlafen,
LafreivonQualundPein
LafreivonewgenStrafen
Beidir,oJesu,sein!
Lagndigsieempfinden,
Herr,deinesLeidensKraft,
BefreiungvondenSnden,
WasdeinGenuverschafft!

22.AlsausgyptenIsrael,vomVolkeder
Barbaren,
GezogenausdemHeidentumdieKinder
Jakobswaren,
DawardJudaGottgeweiht
UndIsraelgebenedeit
ZuseinemReichundErbe.

DasWeltmeersahs,erstauntundfloh;
derJordanwich,floklemmer,
WieWidderhpftenBergemporund
HgelwiedieLmmer,
Waswardir,Weltmeer,daduflohst?
Dir,Jordan,dazurckduzohst?
WashpftenBergundHgel?

VorihresGottesGegenwart,durchden
dieSchpfunglebet,
VorGottesJakobsAngesichthatErdund
Meergebebet,
Vorihm,dessmchtgeWunderkraft
AusSteinundFelsenSeenschafft,
AusKieselWasserquellen.

NichtunsgibEhre,Herr,nichtuns,Dein
Ruhmsollallesfllen;
AlleinumderErbarmungen,umdeiner
Wahrheitwillen.
InDirnuristVollkommenheit,
UndallDeinTunBarmherzigkeit;
PreisseinurDeinemNamen!

DanunnichtmehrmitFrevlerspottdas
VolkderHeidenfraget:
WoistihrallgewaltgerGott,derihrerSorge
traget?
ImHimmelthrontGott,unserHerr,
Undwaserwill,dasschaffeter
Allmchtig,gtig,weise.
DerHeidenGtzen,Silber,Gold,dienur
durchsieentstehen,
DiehabenOhren,hrennicht,undAugen,
dienichtsehen,
UndMundundKehle,dienichtspricht.
Sieriechen,tasten,gehennicht
MitNase,Hnden,Fen.

Gleichihnenwerde,dersiemachtund
deraufsievertrauet;
DochIsraelsundAaronsHaushataufden


Herrngebauet,
UndjederFrommehofftaufihn.
DarumwirdRettungihmverliehn.
GottistseinSchirm,seinHelfer!

StetswarGottunsereingedenk,wenn
belsunsbegegnet;
ErhatgesegnetIsrael,hatAaronsHaus
gesegnet.
DerHerrlieallen,dieihnscheun,
Erbarmung,Segenangedeihn,
VomMindstenbiszumGrten.

NochfernerkommauchGottesHeilauf
euchundeureKinder,
StetswerdeseinesSegensmehrundstets
desArgenminder.
DerErdundHimmelhatgemacht,
DerHerrseiseinesVolksbedacht,
Schtzuns,seinsaligErbe!

Dugabst,Herr,dessdieHimmelsind,
dasErdreichMenschenshnen;
VonToten,diederAbgrundschlingt,wird
nichtdeinLobertnen;
Dochwir,indenenLebenist,
WirpreisenDichvondieserFrist
InewigewgeZeiten!

LATINMOTETS(CD103)
VenisanctespiritusK47
1.Veni,SancteSpiritus,
Repletuorumcordafidelium
Veni,SancteSpiritus,
Ettuiamorisineisignemaccende:
Quiperdiversitatemlinguarum
cunctarum,
Gentesinunitatefidei,congregasti.
Alleluia

TedeumlaudamusK141
2.TeDeumlaudamus,
teDominumconfitemur.
TeaeternamPatrem
omnisterraveneratur.
TibiomnesAngeli,
tibicoelietuniversaepotestates,
tibiCherubimetSeraphim
incessabilivoceproclamant:
Sanctus,sanctus,sanctusDominusDeus
Sabaoth.
Plenisuntcoelietterra
majestatisgloriaetuae.
TegloriosusApostolorumchorus,
teProphetarumlaudabilisnumerus,
teMartyrumcandidatuslaudatexercitus.
Teperorbemterrarum
sanctaconfiteturEcclesia.
Patremimmensaemajestatis;
venerandumtuumverumetunicumFilium,
sanctumquoqueParacletumSpiritum.
Turexgloriae,Christe.
TuPatrissempiternusesFilius.
Tuadliberandumsuscepturushominem
nonhorruistiVirginisuterum.
Tudevictomortisaculeo,
aperuisticredentibusregnacoelorum.
TuaddexteramDeisedes
ingloriaPatris.
Judexcrederisesseventurus.

3.Teergoquaesumus,
tuisfamulissubveni,
quospretiososanguineredemisti.

4.AeternafaccumSanctistuis
inglorianumerari.
Salvumfacpopulumtuum,Domine,
etbenedichereditatituae.
Etregeeosetextolleillos
usqueinaeternum.
Persingulosdiesbenedicimuste.
Etlaudamusnomentuuminsaeculum
etinsaeculumsaeculi.
Dignare,Domine,dieisto
sinepeccatonoscustodire.
Misererenostri,Domine,
misererenostri!
Fiatmisericordiatua,Domine,supernos,
quemadmodumsperavimusinte.

5.Inte,Domine,speravi:
nonconfundarinaeternum.

ErgointerestK143
6.Ergointerest,
anquismalevivat,
anbene?
Fidelisanima,
cogitaviastuas,
facileque
quistibisit
videbisexitum.
Estaliquid,
irampromeruisse,
angratiam!
Quaeresuperna,
fugeterrena,
noncurareliqua,
nilenimsunt.
Hocdabitgaudia,
mortissolatia
incoelispraemia,
eternaquaesunt.

Kommether,ihrfrechensnderK146
Passionslied,Textdichterunbekannt
7.Kommether,ihrfrechenSnder,
sehtdenHeilandallerWelt!
Sprecht,istgegenseineKinder
jeeinVatersobestellt?
JesusleidettausendQualen,
biserselbstdenGeistaufgibt,
umamKreuzdieSchuldzuzahlen,
diedertolleMenschverbt.
Kommet,sehtMariameben
andemFudesKreuzesan!
KanneseineMuttergeben,
diesozrtlichliebenkann?
Ach!mitTrnenmusiesehen,
wieihrSohnamKreuzestirbt,
undsieltesdochgeschehen,
daderMenschseinHeilerwirbt.
DanketnunfrsolcheLiebe,
soderMutteralsdemSohn,
undverschreibtaucheureTriebe
lebenslangzuihremLohn;
treffeteinenBundmitihnen,
stetsimLiebentreuzusein,
undhinfroeureSinnen
blozuihremDienstzuweihn.

95010MozartCompleteEdition
67

Exsultate,JubilateK165
8.Exsulate,jubilate
ovosanimaebeatae
summaTrinitasrevelatur
etubiqueadoratur
dateilligloriam.

9.Tandemadvenithora,
quaDeumcollimusinSpiritu
etveritate,etnomenilliusmagnum
inomnilocoest.
Debitumiamillisitasacrificiumsed
terMariamaccedamusinfide
adfortemgratiae,
adthronummisericordiae,
utmagisacceptabile
sithocobsequium.

10.Tuvirginumcorona,
tunobispacemdona,
tuconsolareaffectus,
undesuspiratcor.

11.Alleluja.

DixitetMagnifcatK193
Dixitdominus
12.DixitDominusDominomeo
Sedeadextrismeis:
Donecponaminimicostuos,
scabellumpedumtuorum.
Virgamvirtutistuaeemittet
DominusexSion:
dominareinmedioinimicorumtuorum.
Tecumprincipiumindievirtutistuae
Insplendoribussanctorum:
exuteroante
luciferumgenuite.
JuravitDominus,Dominusjuravit,
etnonpoenebiteum:
Tuessacerdosinaeternum
secundumordinemMelchisedech.
Dominusadextristuis,
confregitindieiraesuaereges.
Judicabetinnationibus,
implebetruinas:
conquassabitcapitainterramultorum.
Detorrenteinviabibet:
proptereaexaltabitcaput.
GloriaPatri,etFillio,
etSpirituSanctum.
Sicuteratinprincipio,etnunc,etsemper,
etinsaeculasaeculorum.
Amen.

Magnificat
13.MagnificatanimameaDominum.
EtexsultavitspiritusmeusinDeo
salutarimeo.
Quiarespexitspiritushumilitaten
ancillaesuae:
ecceenimexhocbeatammedicent
omnesgenerationes.
Quiafecitmihimagna
quipotensest:
etsanctumnomeneius.
Etmisericordiaeiusaprogenie
inprogeniestimentibuseium.
Fecitpotentiaminbracchiosuo:
dispersitsuperbos
mentecordissui.


deposuitpotentesdesede,
etaltavithumiles.
Esurientesimplevitbonis:
etdivitesdimisitinanes.
SuscepitIsraelpuerumsuum,
recordatusmisericordiaesuae.
Sicutlocutusestadpatresnostros,
Abraham,etseminieiusinsaecula.
GloriaPatri,etFilio,
etSpirituSancto.
Sicuteratinprincipio,
etnunc,etsemper,
etinsaeculasaeculorum.
Amen.

TantumergoK197
14.Tantumergosacramentum
veneremurcernui
etantiquumdocumentum
novocedatritui,
praestetfidessupplementum
sensuumdefectui.
Amen
Genitorigenitoque
lausetjubilatio
salus,honor,virtusquoque,
sitetbenedictio,
procedentiabutroque
comparsitlaudatio.
Amen

AveverumcorpusK618
15.AveverumCorpusnatumdeMariaVirgine;
Verepassum,immolatumincruceprohomine;
Cujuslatusperforatumundafluxitetsanguine;
Estonobispraegustatuminmortisexamine.

MASSINCMINORK427(CD104)
Kyrie
Kyrie,eleison.
Christe,eleison.
Kyrie,eleison.

Gloria
GloriainexcelsisDeo,
etinterrapaxhominibusbonae
voluntatis.
Laudamuste.Benedicimuste.
Adoramuste.Glorificamuste.
Gratiasagimustibipropter
magnamgloriamtuam.
DomineDeus,Rexcoelestis,
DeusPateromnipotens,
DomineFiliunigenite,IesuChriste;
DomineDeus,AgnusDei,FiliusPatris:
quitollispeccatamundi,
misererenobis;
quitollispeccatamundi,
suscipedeprecationemnostram;
quisedesaddexteramPatris,
misererenobis
QuoniamtusolusSanctus,
tucolusDominus,
tusolusAltissimus,IesuChriste.
CumSanctoSpiritu
ingloriaDeiPatris.
Amen.

Credo
CredoinunumDeum,

Patremomnipotentem,
factoremcoelietterrae,
visibiliumomnium,etinvisibilium.
EtinunumDominumIesumChristum
FiliumDeiunigenitum.
EtexPatrenatumanteomniasaecula.
DeumdeDeo,lumendelumine,
DeumverumdeDeovero.
Genitum,nonfactum,
consubstantialemPatri:
perquemonmiafactasunt.
Quipropternoshominesetpropter
nostramsalutemdescenditdecoelis.
EtincarnatusestdeSpirituSancto
exMariaVirgine:
Maryethomofactusest.
Crucifixusetiampronobis:
subPontioPilatopassus,
etsepultusest.
Etresurrexittertiadie,
secundumScripturas.
Etascenditincoelum:
sedetaddexteramPatris.
Etiterumventurusestcum
gloriajudicarevivosetmortuos:
cujusregninoneritfinis.
EtinSpiritumSanctum,
Dominumetvivificantem:
quiexPatreFilioqueprocedit.
QuicumPatreetFilio
simuladoraturetconglorificatur:
quilocutusestperProphetas.
Etunamsanctamcatholicam
etapostlicamEcclesiam.
Confiteorunumbaptismain
remissionempeccatorum.
Etexspectoresurrectionemmortuorum.
Etvitamventurisaeculi.Amen.

Sanctus
Sanctus,Sanctus,
SanctusDominusDeusSabaoth:
Plenisuntcaelietterragloriatua.
Hosannainexcelsis.
Benedictusquitvenitinnomine
Domini:
Hosannainexcelsis.

AgnusDei
AgnusDei,
quitollispeccatamundi,
misererenobis.
AgnusDei,
quitollispeccatamundi,
donanobispacem.

DIESCHULDIGKEITDESERSTENGEBOTS
(CD114CD115)
CD114
1.Sinfonia
DerOrtderVorstellungisteineanmutige
GegendaneinemGartenundkleinen
Wald.DerlaueChristineinem
Blumengestruche
schlafend.

2.Recitativo
GERECHTIGKEIT
DielblichundgerechteBitte,
diedudemHeilderSterblichenzugut

95010MozartCompleteEdition
68

mitleidendmirhastvorgebracht,
istmirzwarangenehm,dochbinichnicht
bedacht,
denfaulenKnechtenzuverschonen:
duweit,meinist,dieFrommenzubelohnen
undjeneabzustrafen,
wennsiedurchBenundBereuen
sichnichtderSchuldbefreien;
unddiesgeschiehtdurchunverdienteGnade,
dienurdesHchstenGte
alleingewhrenkann,sowieesihrgefllt.
CHRISTGEIST
Wohlan!SoseimeinwiederholtesFlehn
AufgleicheWeisandichgestellt,
ogttlichesErbarmen!
Barmherzigkeit
Wasjeerwartestdu?
CHRISTGEIST
Ach!AllesvondeinerHuld
UnddeinenHelferarmen.
Barmherzigkeit
Undwasbekmmertdichsosehr?
CHRISTGEIST
Ach,derbedauernswerteStand,
dieBlindheit,dieGefahrderlauen
Menschenshne,
diekleineZahl,diesichbemhtzugehn
denschmalenWegzumwahrenVaterland;
dieMenge,diezumoffnenHllenschlund
mitdembetrtenHaufen
aufbreiterBlumenstraelaufen.
DerschlaueGeistderWelt,derunter
Blendewerk
VerhlltdieSndenundGefahren.
EntfhretganzeScharen.

3.Aria
CHRISTGEIST
MitJammerMuichschauen
UnzhligteureSeelen
InmeinesFeindesKlauen
DenUntergangerwhlen,
WenndeineWunderkraft
NichtHeil,nichtRettungschafft.
IhrzgelloserSinn,
GleichausgebrochnenFlssen,
Dieschumendsichergieen,
Reitnachdentausendhin.
MitJammermuichschauen...usw

4.Recitativo
BARMHERZIGKEIT
SovielerSeelenFallistzwar
mitallemFugbeweinungswrdiganzusehen,
dochistesselbstihrWill,
dasiezuGrundegehn.
Daerste,grte,jadaswichtigsteGebot:
ausganzerSeel,ausHerzundKrften
zuliebenihrenHerrnundGott,
scheintihremtrgenSinn
gleicheinerLastzusein.
GERECHTIGKEIT
FltihnenderVerstand,
jaendlichderNatur
nichtdiesePflichtalsKindernein,
weileralsVatersieausNichtsgebildethat,
weilersieschtzet,liebet,nhret
undewiglichbelohnet?
BARMHERZIGKEIT
IsterdennnichtdaseinzigewahreGut,
mithinauchhchsterLiebewert?


GERECHTIGKEIT
Pracht,Wollust,Eigennutz
undeitlerEhreSchein
sinddiegemeinenGtzen,
diesiedemSchpfergleich,
jahherschtzen.
BARMHERZIGKEIT
DerselbenAusspruchgilt
vielmehralsGottesWort.
GERECHTIGKEIT
Siewendennurnachderenfalschen
Schimmer
diebldenAugenlichter,
undschauendochsichselbernicht,
nochHimmel,Hlle,TodundRichter.
BARMHERZIGKEIT
SieliebendieUnwissenheit
derLehreihresHeils
undihrerSchuldigkeit.
GERECHTIGKEIT
WennsieaufsolcheWeise
nochBeispielderBelohnten,
nochderBestraftenwollensehen,
BARMHERZIGKEIT
wennsiemeinRufen,meinermahnen
nichtwollenhren,nochverstehen,
GERECHTIGKEIT
sokannGerechtigkeit
sienichtderSchuldentbinden,
BARMHERZIGKEIT
sokannBarmherzigkeit
frsiekeinMittelfinden.

5.Aria
BARMHERZIGKEIT
EinergrimmterLwebrllet
DerdenwaldmitForchterfllet,
RingsherumnachRaubesieht.
DochderJgerwillnochschlafen,
LegethindieWehr,dieWaffen,
AchtetSchutzundHelfernicht.

6.Recitativo
BARMHERZIGKEIT
Wasglaubstdu,
wirdmanwohlmitvielemTrauern
desselbenschndenTodbetrauern?
GERECHTIGKEIT
Anstattihnzubeklagen,
wirdmanvonihmjabilligsagen,
seinEigensinnseiSchulddaran?
CHRISTGEIST
Dasiezusorgenlos
undwiebetubetsind,
istleiderallzuwahr.
DochistdennkeineArt
vonMittelnzuergrnden?
EswrdedesVerstandesLichtvielleicht
sichbaldinseinerHellefinden,
undderverkehrteWillsichbaldergeben,
wennihnensichtbarsollte
vorihrenAugenschweben
dasPeinundSchreckensbild
desoffnenHllengrund,
wennaussovielerTausendMund
dasgrlicheGeheulerschallte,
wenneinVerdammtersich
ausseinemGraberhebte,
siedurchseinunbeglcktenFall
desgroenHauptgebotgemeneSchuldigkeit,
denEifer,dieBeflissenheit,

dieWissenschaftdesHeilszulehren.
BARMHERZIGKEIT
Sieknnedich,deinBeispiel
unddeineWortdurchihrerLehrerStimme
genugbeschauen,kennen,hren.
CHRISTGEIST
Ach,wenigest,laeinfrchterliches
ErmahneninihrelauenHerzengehen.
BARMHERZIGKEIT
Wohlan,essollnachdeinemWunsch
geschehen.
GERECHTIGKEIT
Gerechtigkeitwilldichhieringewhren,
dochmuderMenschenWill
mitmirbeflissensein,
derAuserwhltenZahlzumehren.
DenndaichihrenWillenzwinge,
daskannstdunichtvonmirbegehren:
esbleibetihnenfreigestellt,
zufolgenmeinemRuf,
zufliehenjenenWeg,
derfhrtzumweitenHllenrachen.
sieh,hierwillichdieProbemachen
andiesemSterblichen,denfalscheSicherheit
intiefenSchlafversenkethat.
CHRISTGEIST
O,dadochjenentrgenGeist
deinheilsameserschrecken
ausseinemSchlummermchterwecken!

7.Aria
GERECHTIGKEIT
Erwache,erwache,
Erwache,faulerKnecht,
DerdudenedlenPreis
SovielerZeitverloren,
UnddochzuMhundFlei,
ZurArbeitbistgeboren.
Erwache,erwache,
Erwache,dufaulerKnecht,
Erwache,erwarte,
ErwartestrengesRecht.
EsrufetHllundTod:
DuwirstvondeinemLeben
GenaueRechnunggeben
demRichter,deinemGott!
Erwache,erwache...usw

8.Recitativo
CHRISTGEIST
Erregetsich.
BARMHERZIGKEIT
Erscheinetzuerwachen.
GERECHTIGKEIT
Nunkannstduhierverborgensehn,
obmeineWorterwnschteWirkungmachen.
CHRISTGEIST
IchwilldasBestehoffen.
(Erverbirgtsich.)

9.Recitativo
CHRIST
Wie,wererwecketmich?
Ichseheniemandhier.
WardiesesBlendwerk?
DieWahrheitoderScherz?
Tod,Hlle,Rechenschaft,
ihrSinne,sagetmir...
WELTGEIST
WasRechenschaft?wasTod?wasHlle?
wassollendieseGrillensein?

95010MozartCompleteEdition
69

CHRIST
Freund!wieerwnschlichtriffstduein!
CHRISTGEIST
NunhrtermeinemFeind,oUngelcke!
CHRIST
AchTrost,achRatinmeinerSeelennot!
Weltgeist
Wasistgeschehn?
CHRIST
einungewohnterRuf,
dermeinenSchlafgestrt
undHllenstrafedroht,
hatmichsogarerschreckt,
daichvorbangerForcht...
WELTGEIST
Ichhabgenugverstanden:
IstdiesnichteinBetrug
vonunserbeidenFeind,
sowaresnureineitlerTraum,
einIrrwisch,dererlscht,
kaumdaerunserscheint:
einbuntesNichts,einSchattenwerk.
Darumberuhigedich,
legalleSorgehin.
CHRIST
Esklingenabernoch
inmeinemsinndieWort:
Erwache,faulerKnecht!
duwirstvondeinemLeben
genaueRechnunggeben.
WELTGEIST
Ichweinicht,wasichnun
vondirgedenkensoll,
verltdichdeineWitz?
Bistdudenauerdir?
Gewi,dubistVerwirrungvoll.
EinTraum,einelendeGeburt
deswallendenGeblte
erschrcketdich,
betretdeinGemte.
einGlckesSohnwiedu,
dersonstsowohlbelebt,
bishervonklugenGeist,
vonUmgangedelwar,
vonJedermanngeehrt,
verlieretsichsogar,
daer,ichweinichtwas,
aufTrumebilderhlt.
HttichsomanchenTrumen
geringstenGlaubenzugesellt,
sohttichmirvorAngstundSorgen
schonlngstdasLebenmssenrauben;
duwirstnunbessermir
alsTrumenglauben.

10.Aria
WELTGEIST
HatderSchpferdiesesLeben
SamtderErdeunsgegeben,
Osojauchze,solache,soscherze,
laTrumeTrumesein,
DeinErgtzen,deineFreude,
gehedurchBsche,FeldundHeide,
UnddeinsobeklemmtesHerze
RumesichderWollustein.
HatderSchpferdiesesLeben.....usw


CD115
1.Recitativo
CHRIST
DaTrumeTrumesind,
gestehichwilligein,
dochwareseineStimme,
diemichhatmitGewalt
ausmeinerRuhgebracht,
unddieeinbloerTraum
unmglichknntesein.
IchweinochdeutlichalleWorte,
denn,sienochhrend,wachtichauf!
IchfhlenochdesmattenHerzenSchlge,
daskalteBluthemmtannochseinenLauf,
undmachtdiezagenGliederbeben,
ichsprefastnurhalbesLeben.

2.Aria
CHRIST
JenerDonnerworteKraft,
diemirindieseSeeledringen,
fordernmeineRechenschaft.
Ja,mitihremWiderhall
HrtmeinbangesOhrerklingen
AnnochdenPosaunenschall.
JenerDonnerworteKraft...usw

3.Recitativo
WELTGEIST
Istdieses,osozweiflenimmermehr,
dadiesenStreichhatjenerFeindgetan,
derdichundmichzuqulen,
zukeinerZeitvergessenkann.
CHRIST
Weristwohl,dermichhat,
undzwarohnmeinerSchuld,
daichnochihn,nochseinenNamenkenne?
WELTGEIST
Erhatdichmeinetwegen:
Jedochverlangenicht,daichihnnenne;
Dirseigenug,daichdirseineLebensgre
MitwenigWortenzeige.
CHRISTGEIST
(beiseite)
Istsmglich,daichlngerschweige?
WELTGEIST
EristeinMckenfnger,
derandern,wieihmselbst,
fastkeineFreudegnnt,
derallenUnterhalt
unddasGesprcheflieht
derweltbelebtenLeute,
derjedeGrilledesGewissens
mitnachderLnge,Tiefe,Breite,
derseineSittenlehre
suchtallenaufzudringen,
dievollderdummenEinfaltsind,
dabeisehrunbequemundhart;
seinReden,Denken,Tun
isteitlesPfaffenwerk:
miteinemWort,erist
vonganzbesondrerArt.
CHRISTGEIST
OunverschmtesLgen!
(beiseite)
WiewahrhingegensprichtdergttlichMund,
derniemalkannbetrgen:
IhrseidnichtvonderWelt,
deswegenhatsieeuch!
Wassollichtun!
WillichmeinZielerhalten,

somuichmichverstallten.
(gehtab.)

4.Aria
WELTGEIST
SchildreeinenPhilosophen
MitbetrbtenAugenlichtern,
VonGebrdenherbundschchtern,
IndemAngesichterbleicht.
DannhastdueinBildgetroffen,
Dasnurihmalleinegleicht.

5.Recitativo
WELTGEIST
WennhrichnunhierinderNhe?
Esistgewinurebender,
sodirdenPossenspielte,
und,daerdichdurchseineStimm
erschreckte,
hierimGebschesichverhllte.
(DerChristgeistltsichimnchstenWaldals
Arztsehen.)
Dochnein:esisjemand,derwieesscheinet
hier
bewhrteKrutersucht.
CHRIST
IstereinArzt,
sosprechichihnumMittelan,
wodurchichmeinsoliebesLeben
nochvieleJahrgesunderhaltenkann.
WELTGEIST
Siehda,ergehtbedachtsamhiervorbei.
CHRIST
Erlaube,unbekannterFreund,
einnichtunntzeFrage:
IstdeineWissenschaft
VielleichtdieArzenei?
CHRISTGEIST
Ja!DieseistmeinTun,
dieKrankenheileich,
Gesundeweiichzuerhalten.
CHRIST
MeinWnschenist,
erstnachsehrsptenJahren
vergngt,gesund,gemchlichzueraltern.
Ach,daderTodnichtgarvermeidlichist!
DochisteinMitteldirbekannt,
entfernteFllezuverhten?
CHRISTGEIST
IchbindemallergrtenArzt,
denjedieWeltgesehn,
sehrnaheverwandt.
DiesmeinbesondersGlcke
GabmirGelegenheit,
inseinembestenBuch
dasersteunddasgrte
ausdenGenesungsmitteln
zufinden,zuentdecken.
DasMittel,auerdem
DeranderngeistundKraft
ZurHeilungnichterklecken.
CHRIST
Ach,knntestdumirdoch
FrKummer,AngstundForcht,
diemichvielmehralsjedeKrankheitqulen,
erwnschteHilfeschaffen.
Wiegernewolltichdichbelohnen!
CHRISTGEIST
Essollanmirnichtfehlen,
jedochsehrvielesliegtbeidir.

95010MozartCompleteEdition
70

WELTGEIST
MeinFreund!DeinArzeneigesprch
Willmirnunmehrzulangesein,
dennmirflltnichtsvonTodundKrankheit
ein,
wohlaberdiegewohnteStunde,
dieallgemachzumFrhstckruft.
Duwirstdaraufjanichtvergessen?
CHRIST
Gehhin,dasselbezubereiten.
WELTGEIST
DiessollmitallerEil
Undbestenfleigeschehn.
IchhabalsdanndieEhre,
dazudichzubegleiten.
(AbseitsimHinweggehen.)
IchweifrihnvielbessreArzeneien,
einholderBlickvonseinerSchnen,
gutEssen,Trinken,Spielen,Jagen,
wirdallesKummersihnbefreien.
CHRISTGEIST
DenHimmelseigedankt,
meinFeindentfernetsich,
nunkannichfreiermicherklren.
IchgebedirmeinteuresWort,
dichmeinerHilfezugewhren:
DusollstGesundheitundVergngen
(derSeeleHeilundRuh)forthingenieen.
Alleinwirstdudichwohlentschlieen,
zufolgenmeinemtreuenRat?
ZufliehndiekalteLuft
(denlauenGeistderWelt),
sodirdasAugverdirbt,
dieBrusterkltethat?
CHRIST
Wie,meineBrust,meinAug
Erkltetundverderbt?
Duirrestdich,anbeidenfehltmirnicht.
Dusiehestmirvielleicht
InmeinemAngesicht
DenungemeinerlittnenSchreckenan,
derkrzlichmirdasHerzemachtebeben.
CHRISTGEIST
Glaubmir,jemehrsichdieGefahr
DemKrankenhltverborgen,
jemehrhaterzusorgen.

6.Aria
CHRISTGEIST
Manchesbelwillzuweilen,
EseskannderBalsamheilen,
ErstlichMesser,ScherundGlut.
JenerRuf,derdicherweckte,
JeneStimme,diedichschreckte,
Warditntig,wardirgut.
Manchesbelwillzuweilen...usw

7.Recitativo
CHRIST
ErhltmicheinemKrankengleich,
erwei,wasmirbegegnetist,
wassollichwohlvonihmgedenken?
Werdununimmerbist,
erhaltemichgesund,
wennichesbingewesen,
undbinichkrank,
somachemichgenesen.
CHRISTGEIST
NimmdiesverschlossneBlatt
AlseineSchenkunghin,
ichweigewi,duwirstdarin


frdicheinsolchesMittelfinden,
demkeinesausallanderngleicht.
CHRIST
Istesvielleichtsehrhartzunehmen?
CHRISTGEIST
WersichdazumitErnstentschliet,
demisteslieblich,sundleicht.
CHRIST
UndwasistdessenEigenschaft?
CHRISTGEIST
Eswrmet,muntertauf
(denlauundtrgenGeist),
erheitertdenVerstand
durchseineWunderkraft
(dieChristenpflichtzufassen),
esschrftdasAug
(denschlauenFeindzusehn),
verschaffteingutGehr
(zuhrenGottesWort),
esbringetMutundStrke
(derHllenmachtzuwiderstehn),
frSchwindelindemHaupt.
WELTGEIST
Freund!Allesistbereit,
undeineganzeReihe
derfrhlichenGemter
vonbeiderleiGeschlechte
erwartendich.
CHRIST(ZUMCHRISTGEIST)
Verzeihe,
derWohlstandheitmicheilendgehn.
HltdiesesMittelseineProbe,
solohnichdichbeiunsermWiedersehn.
(gehtab.)
WELTGEIST
(imHinweggehen)
(SoendichihrGesprche,
denndieserArztwillmir
sowieverdchtigsein).
CHRISTGEIST(ALLEIN)
Ach!AlsostelltdieeitleLustderWelt
DesGeistesbestenFortgangein.
Maneilt,manlauft,wohin?
Ach!AndieOrte
WonurderSinnenFreiheitruft:
ManhretmeineWorte
VonwahrerTugendlehrenicht
UndfolgetliebermeinemFeind,
derallesGuteunterbricht.

8.Recitativo
BARMHERZIGKEIT
Hastdununmehrerfahren,
wasunserbeidenHilf
andiesemMenschenntzt?
Wennerverlorengeht,
weristwohlendlichschuld?
CHRISTGEIST
Ach!Erallein,
dochhabtmitihmGeduld.
WieknnteinlauesHerze,
dasvondemGeistderWelt
mitSchneebedecketist,
sogleichvonGottesLiebebrennen?
DerAnfanggibtmirdochbeiihm
DenScheinderHoffnungzuerkennen.
GERECHTIGKEIT
DerMenschbereitesich
ZuStrafeoderLohn,
bleibtdochdemHchstenLobundPreis.
Dennhrterrdich,OGte,nicht,

sodienterwenigestmirzuEhre.
CHRISTGEIST
Ichwillmichdanndahinbestreben,
damitersichbekehre,
unddienesozubeiderRuhm,
daihnGerechtigkeitbelohne,
Barmherzigkeitverschone.

9.Terzetto
CHRISTGEIST
LatmireurerGnadeSchein
Niemalfehlen,
SoerholichneuenMut.
Barmherzigkeit,Gerechtigkeit
ZULEICH
EssollanderGnadeSchein
Niemalfehlen,
WennderMenschdasSeinetut.
CHRISTGEIST
Allzeitwillichtrachten,sinnen,
TeureSeelenmeinemSchpferzugewinnen,
DiessollmeinGeschftesein.
LatmireurerGnadeSchein...usw
Barmherzigkeit,Gerechtigkeit
ZUGLEICH
EssollanderGnadeSchein....usw

MASONICMUSIC(CD116)
LAUTVERKNDEUNSREFREUDE
1.Chor
LautverkndeunsreFreude
FroherInstrumentenschall,
jedesBrudersHerzempfinde
dieserMauernWiderhall.
DennwirweihendieseSttte
DurchdiegoldneBruderkette
UnddenechtenHerzverein
HeutzuunsermTempelein.

Rezitativ
ZumerstenMale,edleBrder,schlietuns
dieserneueSitzderWeisheitundderTugend
ein.WirweihendiesenOrtzumHeiligtum
unsererArbeit,dieunsdasgroeGeheimnis
entziffernsoll.SistdieEmpfindungdes
MaurersansoeinemfestlichenTage,derdie
Bruderketteneuundengerschliet;sder
Gedanke,danundieMenschheitwieder
einenPlatzunterMenschengewann,sdie
ErinnerungandieSttte,wojedesBruderherz
ihm,waserwarundwaseristundwaser
werdenkann,soganzbestimmt,woBeispiel
ihnbelehrt,woechteBruderliebeseinerpflegt
undwoallerTugendenheiligste,erste,aller
TugendenKnigin,Wohlttigkeitinstillem
Glanzethront.

2.Arie
DieserGottheitAllmachtruhet
NichtaufLrmen,PrachtundSaus,
nein,imStillenwiegtundspendet
siederMenschheitSegenaus.
StilleGottheit,deinemBilde
HuldigtganzdesMaurersBrust,
dennduwrmstmitSonnenmilde
stetsseinHerzinserLust.

Rezitativ
Wohlan,ihrBrder,berlateuchganzder
SeligkeiteurerEmpfindungen,daihrnie,da

95010MozartCompleteEdition
71

ihrMaurerseid,verget.DieseheutgeFeier
seieinDenkmaldeswiederneuundfest
geschlonenBunds.Verbannetseiaufimmer
Neid,HabsuchtundVerleumdungausunsrer
Maurerbrust,undEintrachtknpfefestdas
teureBand,dasreineBruderliebewebte.

3.Duett
Langesollendiesemauern
ZeugeunsrerArbeitsein,
unddamitsieewigdaure,
weihtsieheuteEintrachtein.
LatunsteilenjedeBrde
MitderLiebeVollgewicht,
dannempfangenwirmitWrde
hierausOstenwahresLicht.
DiesenVorteilzuerlangen,
fangetfrohdieArbeitan.
Undauchderschonangefangen,
fangeheutewiederan.
HabenwirandiesemOrte
UnserHerzundunsreWorte
AndieTugendganzgewhnt,
odannistderNeidgestillet
undderWunschsoganzerfllet,
welcherunsreHoffnungkrnt.

4.Chor
LautverkndeunsreFreude...
KarlLudwigGieseke(attributedto)

LIEDZURERFFNUNGDERFREIMAURER
LOGEZERFLIEETHEUT,GELIEBTEBRDER
5.Zerflieetheut,geliebteBrder,
InWonnundJubellieder,
JosephsWohlttigkeit
Hatuns,inderenBrust
EindreifachFeuerbrennt,
hatunsreHoffnungneugekrnt.
VereineterHerzenundZungen
SeiJosephdiesLobliedgesungen,
demVater,derengerunsband.
WohltunistdieschnstederPflichten;
Ersahsieunsfeurigverrichten
UndkrntunsmitliebvollerHand.
DankauchderSchar,dieehunswachte,
derTugendFlammanfachte
undunszumBeispielwar,
ausderenjedemTritt
aufihremMaurergang
einQuelldesBruderwohlsentsprang.
Dasinnigste,ttigsteStreben.
Zuihnenemporsichzuheben,
isallenderherrlichsteDank.
Drumlatuns,verdreifachtdieKrfte,
beginnendiehohenGeschfte
undschweigendenfrohenGesang.
TextvonAugustinVeithEdlemvon
Schittlersberg

LOBGESANGAUFDIEFEIERLICHE
JOHANNISLOGE
6.OheiligesBandderFreundschafttreuer
Brder,
demhchstenGlckundEdensWonne
gleich,
demGlaubenfreund,dochnimmermehr
zuwider,
derWeltbekanntunddochgeheimnisreich.
Oheiliger!OdreimalgroerOrden!
DerWeisereiztundFrstenlsternmacht;


MitdiristunsdiegoldneZeitgeworden,
soschn,alssiedeiFabelkaumerdacht.
Auf,Maurer!Singt;latheutdenErdkreis
hren,
esseiderTag,demdiesesLiedgeweiht,
einherrlicher,eingroerTagderEhren,
einhohesFestderTreuundEinigkeit.
Fastreizenderundallzeitgleicherhaben
SahnwirsiejngstausStaubundModer
ziehn,
nachdemsielanginBarbareibegraben
undvonderWeltmehralsvergessenschien.
OselgeZeit,diesiedenThronbesitzen
UndmitdemGlckinholderEintrachtsieht.
OsichresVolk!DasKnigebeschtzen,
unddessenRuhderHeldenFaustbemht.
DertiefeGeistdergrndlichweisenBriten,
dasdeutscheHerzvollRedlichkeitundTreu,
derFranzenWitzundschmeichelhafteSitten
sinddoppeltschnimSchmuckder
Maurerei.
IstsEitelkeit?Sagt,oderistesgrndlich,
dasstilleGlck,demsichdieMaurerweihn?
KanneinGesetz,dastrichtodersndlich,
sofestbestehn,vonsolcherDauersein?
Geflltesihm,sowirdmitgleichemGlcke
EsfortbestehnundRuhmundPreisesvoll,
bisihmsbeliebt,daselbstsein
Meisterstcke,
derBauderWelt,nichtlngerdauernsoll.
LudwigFriedrichLenz

LIEDZURGESELLENREISE
7.DieihreinemneuenGrade
DerErkenntnisnuneuchnaht,
wandertfestaufeuremPfade,
wit,esistderWeisheitPfad.
NurderunverdroneMann
MagdemQuelldesLichtssichnahn.
Nehmt,OPilger,zumGeleite
EurerBrderSegenmit!
VorsichtseieuchstetszurSeite;
WigierleiteeurenSchritt!
PrftundwerdetniedemWahn
TrgerBlindheituntertan!
RauhistzwardesLebensReise,
abersistauchderPreis,
derdesWandrersharrt,derweise
seineFahrtzuntzenwei.
Glcklich,wereinstsagenkann:
EsistLichtaufmeinerBahn!
JosephFranzvonRatschky

LIEDZUMSCHLUDERFREIMAURERLOGE
IHRUNSRENEUENLEITER
8.IhrunsreneuenLeiter,
nundankenwiraucheurerTreue;
fhrtstetsamTugendpfadunsweiter,
dajedersichderKettefreue,
dieihnanbereMenschenschliet
undihmdesLebensKelchverst.
BeimheiligenEidegelobenauchwir,
amgroenGebudezubauenwieihr.
HebtaufderWahrheitSchwingen
UnshherzuderWeisheitThrone,
dawirihrHeiligtumerringen
undwrdigwerdenihrerKrone,
wennihrwohlttigfrdenNeid
Profanerselbstdurchunsverscheut,
BeimheiligenEide...
AugustinVeithEdlemvonSchittlersberg

DIEMAURERFREUDE
9.Sehen,wiedemstarrenForscherauge
DieNaturihrAntlitznachundnach
enthllet;
Sehen,wiesieihmmithoherWeisheit
VolldenSinnundvolldasHerzmitTugend
fllet:
DasistMaureraugenweide,
wahre,heieMaurerfreude.
Sehen,wiedieWeisheitunddieTugend
AndenMaurer,ihrenJnger,holdsich
wenden,
sprechen:Nimm,Geliebter,dieseKron
ausunsersltstenSohns,ausJosephs
Hnden.
DasistdasJubelfestderMaurer.
DasistderTriumphderMaurer.
Drumsingetundjauchzet,ihrBrder!
LatbisindieinnerstenHallen
DesTempelsdenJubelderLieder,
latbisandieWolkenihnschallen!
Singt!
LorbeerhatJosephderWeise
zusammengebunden,
mitLorbeerdieSchlfedemWeisender
Maurerumwunden.
FranzPetran

DIEIHRDESUNERMESSLICHWELTALLS
11.DieihrdesunermelichenWeltalls
Schpfer
ehrt.
Jehovanenntihn,oderGott,nenntFuihn,
oderBrahma,
hrt!HrtWorteausderPosaunedes
Allherrschers!
LauttntdurchErden,Monden,Sonnenihr
ewgerSchall,
hrt,Menschen,sieauchihr!
LiebtmichinmeinenWerken!
LiebtOrdnung,EbenmaundEinklang!
Liebteuch,euchselbstundeureBrder!
Krperkraft,undSchnheitseieureZierd,
VerstandeshelleeuerAdel!
ReichteuchderewgenFreundschaft
Bruderhand,
dienureinWahn,nieWahrheit,euchsolang
entzog!
ZerbrechetdiesesWahnesBande,
zerreietdiesesVorurteilesSchleier,
enthllteuchvomGewand,
dasMenschheitinSektierereiverkleidet!
InKolterschmiedetumdasEisen,
dasMenschen,dasBrderblutbishervergo!
ZersprengetFelsenmitdemschwarzen
Staube,
dermordendBleiinsBruderherzoft
schnellte!
Whntnicht,dawahresUnglckseiauf
meinerErde!
Belehrungistesnur,diewohltut,
wennsieeuchzubessernTatenspornt,
die,Menschen,ihrinUnglckwandelt,
wenntrichtblindihrrckwrtsinden
Stachelschlagt,
dervorwrtseuchantreibensollte.
Seidweisenur,seidkraftvoll,undseidBrder!
Dannruhtaufeuchmeinganzes
Wohlgefallen,
dannnetzenFreudenzhrennurdieWangen,

95010MozartCompleteEdition
72

dannwerdeneureKlagenJubeltne,
danschaffetihrzuEdensTlernWsten,
dannlachetalleseuchinderNatur,dann
dannistserreicht,desLebenswahresGlck.
FranzHeinrichZiegenhagen

DIR,SEELEDESWELTALLS,OSONNE
12.Chor
Dir,SeeledesWeltalls,OSonne,seiheut
DaserstederfestlichenLiedergeweiht!
OMchtige!Ohnedichlebtenwirnicht,
vondirnurkommtFruchtbarkeit,Wrme
undLicht!

13.Arie
DirdankenwirdieFreude,
dawirimFrhlingskleide,
dieErdewiedersehn;
dalaueZephiretten
aussenBlumenketten
undDuftentgegenwehn,
daalleSchtzespendet
undjedenReizverschwendet
diegtigeNatur,
dajedeLusterwachet
undalleshpftundlachet
aufsegenvollerFlur.

14.Duett
DieLichter,diezuTausenden,
sichindemSternenkreisdrehn,
erhellenunsdieNachtimAll,
sindherrlichanzusehn,
WasSternenkreisimAllunswebt,
SternmantelsMajestt,
wennsichderLichterGlanzerhebt,
dieDunkelheitvergeht,
DerFunke,derdasHerzentflammt,
gnadvolldenGeisterhellt.
WieSonnenlicht,wieSternenschein
ErinunsMenschenfllt,
sindholdeGenienunsverwandt,
dieLichtergroundklein,
wiedankbarwir,daunsvergnnt,
inihremLichtzusein.
WirMenschen,dieaufErdenhier,
derNachtdrohnzuverfalln
vertraundemStern,derSonneLicht,
dengroenLichternalln,
vonallentausendLichtern,
dieimSternkreisestrahlen:
Dir,Sonne,Lebensspenderin,
sollunserDankgefalln.

15.Rezitativ
Dir,SeeledesWeltalls,OSonne,dirdanken
wir.
Dankendir,dankensollnwir,
SendestdochStrahlen,Sonne,sengende,
ltunsverschmachtenindrrerWste,
trocknestFlsseuns,undSeen,Monsune
erweckstdu,
verdorrestdengrnenHain,welkesthindie
Blten,
Sonnensturm,schrecklicher,mitGlutenttest
du.
OSeeledesWeltalls,Mchtigedu,Gtige,
dualleinbists,dietoteStrandwandelt
infruchtbareKste.DuschmelzestdasEis,
dasstarrende,vondenGipfelnderFelsen
ltstrmendieFlsse,


dirzuLusterstspringendieQuellen.
OMchtige,ja,SeeledesWeltalls.
DugebierstdesLebensWonnen,
sendestauchTod,
densengenden,denbrennenden,
denlebenszerstrenden,den
lebensgebrenden,
denallmchtigenTod.

16.Chor
Dir,SeeledesWeltalls,OSonne,
istheutinEhrfurchtdiefestlicheHymne
geweiht.
OGtige,ohnedichliebtenwirnicht,
vondirkommtZuversicht,LiebeundLicht.
OSonne,Gtige,oSeeledesWeltalls,
diristheutinEhrfurchtdiefestlicheHymne
geweiht,
dirseisheutbezeugt:
vondirnurkommtFruchtbarkeit,Wrme,
Licht.
Dir,SeeledesWeltalls.....
VondirkommtZuversicht,vondirnur
kommtFruchtbarkeit,
nurkommtHeiterkeit,LiebeundLicht.
LorenzLeopoldHaschka(Textergnzungvon
AlexanderGiese)

GRABMUSIKDAVIDDEPENITENTE(CD117)
1.Recitativo
DIESEELE
Wobinich?BittrerSchmerz!Ach!JenerSitz
DerLiebe,meinRuh,meinTrost,dasZiel
AllmeinerTriebe,undmeinesJesugttlichs
Herzdasregetsichnchtmehrundist
VomBlutundLebenleer.Hiertrieftdie
WundenochvonBlut;verdammteWut!
WasfreinherbesEisenknntdieses
SesteundallerliebsteHerzzerreien?

Aria
Felsen,spalteteurenRachen,
trauertdurcheinklglichsKrachen,
Sterne,MondundSonneflieht,
traurNatur,ichtrauremit.
Brllt,ihrDonner!BlitzundFlammen,
schlagetberdemzusammen,
derdurchdieverruchteTat
diesesHerzverwundethat.

2.Recitativo
DERENGEL
GeliebteSeel,wasredestdu?Bedauredas
verwundteHerz,ichlobedeinenSchmerz,
undwillstduzrnen?Zrnezu!Dochber
wen?Ach,ehrlichberdich,willstduden
Mrderfinden,sodenkandeineSnden,
diefhrtendiesenStichundleitetenden
Speer.Jetztzrnewieduwillst,jetzttraure,
abertrauremehr.

Aria
BetrachtdiesHerzundfragemich,
werhatdieKrongebunden,
vonwemsinddieseWunden?
Sieistvonmirunddochfrmich.
Sieh,wieesBlutundWasserweint,
hr!WasdieZhrensagen,
dieletztenTropfenfragen.
Obesmitdirnichtredlichmeint,

ergibdich,hartesHerz,
zerflieinReuundSchmerz.

3.Recitativo
DIESEELE
OHimmel!WaeintraurigLicht,sojetzt
ZumeinerQualausdiesenWortenbricht!
Sobinichdenndiegrausamegewesen,
sodiesesHerzverwundethat?DiesBlutist
meineTat?OSchmerz,zerbrichmirdas
beklemmteHerz.

4.Duetto
DIESEELE
Jesu,washabichgetan?
DurchmichhastdudieseWunden,
durchmichTodundKreuzgefunden,
auchdenletzetenTropfenBlut
suchimHerzenmeineWut,
ach,washabeichgetan?
DERENGEL
SchaudiesHerznurreuvollan,
aberauchdurchdieseWunden
hastduHeilundGnadgefunden,
auchdenletztenTropfenBlut
gibtdieLiebedirzugut.
DIESEELE
DiessolljetztmeinVorsatzsein,
liebstesHerz,dichwillichlieben,
nimmerwillichdichbetrben,
ach,verzeihes,gttlichsHerz.
DERENGEL
EsverzeihetdeinemSchmerz.

5.Recitativo
SOPRAN
OlobenswerterSinn!Otausendmalbeglcktes
Whlen!OweislichesEntschlieen!
CORO
Jesu,Jesu,wahrerGottessohn,
demeinungerechterRichterheut
denStabdesLebensbricht,
richteunsnachSchrfenicht!
WennzudeinemWolkenthron
RufetderPosaunenSchall
UnddasHeerderHimmelslichter
SichbereitetzudemFall.

DaviddepenitenteK469
6.CORO
AlzaileflebilivocialSignor.
AlzaiaDioleflebilivoci
damalioppresso!

7.CORO
Cantiam,cantiamo,cantiamle
glorie,
elelodi,replicamoleincento
modiecento,
legloriecantiamodelSignore
amabilissimo.

8.Aria
SOPRANOII
Lungilecureingrate,ah!
respirateomai.
Sepalpitateassai,tempoda
goder.

9.CORO
Siipursemprebenigno,ohDio,

95010MozartCompleteEdition
73

elepreghieretimuovanoapiet!

10.Duetto
SOPRANOI&II
Sorgi,oSignore,espargiituoi
nemici,
edissipaituoinemici.
Fugaognunchetodia,fugadate.

11.Aria
TENOR
Ate,fratantiaffanni,pita
cercai,Signore,
chevediilmiobelcore,chemi
conoscialmen.
Udistiivotimiei,egigodea
questalma,
pertelusatacalmadelle
tempesteinsen.

12.CORO
Sevuoipuniscimi,mapria
Signore,lasciachealmeno,
chesfoghi,chealmenopria
simmoderiiltuosdegno,il
tuofurore,puniscimisevuoi.
mapria,Signore,lasciasi
moderiiltuoterribile
sdegnoefurore.
Vedilamiapallidaguancia
inferma,Signore,deh!sanami,
deh!porgimisoccorso,
aita,Signor,tupuoi
porgimiaita,deh!sanami,
deh!porgimiaita,soccorso,
aita!

13.Aria
SOPRANOI
Fraloscureombrefuneste
splendealgiustoilciel
sereno,serbaancornelle
tempestelasuapaceunfido
cor.Almebelle!ahs
godete!nalcunfiache
turbiaudace,quellagioja
aquellapace,dicuisolo
Diolautor.

14.Terzetto
SOPRANOI&II,TENOR
Tuttelemiesperanze,ho
tutteripostointe.
Salvami,oDio,dalnemico
feroce,cheminsegueeche
mincalza,oDio,salvami!

15.CORO
ChiinDiosolspera,
ditaipericolinonhatimor.

CANONS(CD118)
K233
2.LeckmirdenArschfeinrein
SolldasdennUrtextsein?
SolldasdennMozartsUrtextsein?!
Leckmir?!Onein,onein!
DiesBildnisistsorein,
istsoweisswieeinSchwan!
Leckmir?Daskannnichtsein,nein!


Onein!
SolldasdennwirklichUrtextsein?
Nein,derMozartwareinfeinerMann!

K232
3.LieberFreistdtler,lieberGaulimauli,
LieberStachelschwein,wogehnsiehin?
EtwazumFintooderzumScultetti?
Ha,wohin,wohin?
ZumScultetti,zumFinto,zumFinto,zum
Scultetti?
Ei,zukeinmvonbeiden,
nein,sondernzumKitschagehtderHerr
vonLilienfeld
undnichtderFreistdtler,nein,auchnicht
derGailimauli,
wederderStachelschwein,sondernderHerr
vonLilienfeld.

K560b
5.OdueselhafterMartin,
OdumartinischerEsel,
dubistsofaulalswieeinGaul,
derwederKopfnochHaxenhat.
Mitdiristgarnichtsanzufangen,
IchsehdichnochamGalgenhangen.
DudummerPaul,haltdudasMaul,
ichscheissdiraufsMaul,
sohoffich,wirstduerwachen.
OlieberMartin,ichbittedirrechtsehr,
Oleckmichdochgeschwind,
geschwindimArsch.
OlieberFreund,verzeihemir,
denArsch,denArschpetschierichdir,
Martin,Martin,verzeihemir!

K561
6.Bonanox!bistarechtaOx;
Bonanotte,liebelotte,
bonnenuit,pfui,pfui,
goodnight,goodnight,heutmssmanon
weit,
gutenacht,guteNacht,scheissinsBett,
dasskracht,
guteNacht,schlafffeigesundundreckden
ArschzumMund.

K231
8.LeckmichimArsch!
Goethe,Goethe!
GtzvonBerlichingen!ZweiterAkt;
DieSzenekenntihrja!
Rufenwirnurganzsummarisch:
HierwirdMozartliterarisch!

K89
10.Kyrieeleison
Christeeleison
Kyrieeleison

K553
11.Allelujah

K554
12.AveMaria

K507
15.HeiterkeitundleichtesBlutmachtein
frohesHerzundgutenMut.
Flieht,ihrSorgen,weitvonmir,
trbtnichtmeinesHerzensSeligkeit.

K89aI
16.Hei,wenndieGlserklingen,
solasstunsallefrhlichsein,
undlasstunslustigsingen,
jasingen
jalustigsingen,
amTischbeimkhlenWein.

K234
18.Essen,trinken,daserhltdenLeib
sistdochmeinliebsterZeitverstreib,das
EssenundTrinken.
LabtmichSpeisundTranknichtmehr,
dannade,dannWelt,guteNacht!
SoeinBrtchen,einPastetchen,
ach,wenndiemeinemGaumenwinken,
dann,dann,dannistmeinTagvollbracht.
Ach,undwennimliebenGlschen
SorgundGramdarniedersinken,
dannallerWeltdannguteNacht!

K508
19.AufdasWohlallerFreundeseydasGlas
geleert!
Jeder,derzuunsgehrt,lebefroh,erlebe
hoch!

K89aII:VierRtselKanons
21.1.Incipemenaliamecummeatibiaversus
22.2.CantateDominoomnisterra
23.3.ConfitebortibiDomineingentibuset
nominituocantabo
24.4.Tebanabellacanto,Trojanacantatalter

K556
26.Grechteltsenk,wirgehnimPrater.
ImPrater?ImPrater?
Iztlassnach,ilassminetstimma.
EybeyLeib,eyjawohl,
mibringstntaussi.
Wasblauschtder?Wasblauschtder?
IzthaltsMaul!
IgebdraTetschen.

K558
27.GehnwirimPrater,gehnwirindHetz,
gehnwirzumKasperl.
DerKasperlistkrank,derBristverreckt,
wastthmainderHetzdrauss?
ImPratergiebtsGelsenundHaufenvon
Dreck,
derBristverreckt,derKasperlistkrank,
undimPratergiebtsHaufenvollDreck,
vollDreck,vollDreck.

K348
29.Vamodicoreteneramente,si,si,
Iononvipossoaltroamare,no,no,
Uh,chedolore,uh,chetormento,uh,uh,

K555
30.Lacrimososonio;
perduttolidolmio
Lacrimososonio.

K562
31.Carobellidol,idomio,
nontiscordardime,
ahno,nontiscordardime!
Tengo,tengosempredesio,
desservicino,vicinoate,

95010MozartCompleteEdition
74

vicinoate!

K557
32.Nascosoilmiosol,
esolquiresto,
Piangetevoiilmioduol,
chiomoropresto,chiomoro.
Piangete,piangete!

K559
33.Difficilelectumihimarsetjonicu

K229
35.Sie,sieistdahin,dieSngerin,
dieMaienliedertnte!
Sie,diedurchihrLieddenganzenHain,
ach,denHain,
diedurchihrLieddenganzenHain
verschnte,
sieistdahin,sieistdahin!

K230
36.Selig,seligalle,dieimHerrnentschliefen!
Auchselig,selig,Freund,bistdu.
EngelbrachtendirdenKranz,
unddieEngelriefen,
unddugingstinGottesRuh,
unddugingstzurRuh.

K347
37.HeildemTag,demdieNachterlag,
derlichteSonnenscheinerwekket
FlurundHain.

K562a
39.Horch:ihrsssesLiedsingtdieNachtigall,
ihrt,t,t,t,t,t,
ihrsssesLiedsingtdieNachtigall

K228
40.Lebetwohl,wirsehnunswieder,jalebet
wohl;
HeultnochgarwiealteWeiber,wiealte
Weiber

K.Anh.109d
41.Donanobispacem!
SinktdieNachthernieder,schweigenalle
Lieder.
Klingtmorgenwieder!

CONCERTARIASI(CD119)
K119
1.DerLiebehimmlischesGefhl
IstnichtanunsreMachtgebunden.
EineinzgerBlickentscheidetviel,
NochhatmeinHerzihnnichtgefunden;
Ichwart,ichwartmitZuversicht.
WenndieNaturmichliebenheisst,
WirddiesesHerzschonselbst
empfinden.
UmsonstbeschftigsichmeinGeist,
NursiekannHerzenwohlverbinden,
Nursie,dieKlugheitkannesnicht

K418
2.Vorreispiegarvi,ohDio!
Quallaffannomio;
Mamicondannailfato
Apiangereetacer.


Ardernonpuilmiocore
Perchivorrebbeamore
Efachecrudaiosembri,
Unbarbarodover.
Ahconte,partite,
Correte,fuggite
Lontanodame;
Lavostradiletta
Emiliavaspetta,
Languirnonlafate,
degnadamor.
Ahstellespietate!
Nemichemisiete.
Miperdoseiresta.
Partite,correte,
Damornonparlate,
vostroilsuocor.

Kdeest
3.Cara,selemiepene
Tuttescordarmifai,
Nonseparartimai
Daquestoamantecor.
Stelle,segiustesiete,
Pietoseproteggete
Ilsuofedeleamante,
Ilmiocostanteamor.

K83
4.Setuttiimalimiei
Iotipotessidir,
Dividertifarei
Pertenerezzailcor.
Inquestoamaropasso
Sigiustoilmiomartir
Che,setufossiunsasso,
Nepiangerestiancor.

K294
5.Alcandro,loconfesso,
Stupiscodimestesso.Ilvolto,ilciglio,
Lavocedicostuinelcormidesta
Unpalpitoimprovviso,
Chelerisenteinognifibrailsangue.
Fratuttiimieipensieri
Lacagionnericerco,enonlatrovo.
Chesar,giustiDei,questochioprovo?
Nonsodondeviene
Quelteneroaffetto,
Quelmotocheignoto
Minascenelpetto,
Quelgel,chelevene
Scorrendomiva.
Nelsenodestarmi
Sfiericontrasti
Nonparmichebasti
Lasolapiet.

K82
6.Seardireesperanza
Dalcielnonmiviene,
Mimancaconstanza
Pertantodolor.
Ladolcecompagna
Verdersirapire,
Udirchesilagna,
Condottaamorire,
Sonsmanie,sonpene
Cheopprimonouncor.

K178
7.Ah!spiegarti,ohDio,vorrei
Queldeso,cheilcormaffanna;
Malasortemicondanna
Ataceresospirar.
Nolconsenteilcrudoamore,
Chiomistruggaadaltraface;
Delsuobarbarorigore,
Contemio,nontilagnar.

CONCERTARIASII(CD120)
K505
1.Chiomiscordidite?Chealeimidoni
Puoiconsigliarmi?Epuoivolerchio
viva?
Ahno,sarebbeilvivermiodimorte
Assaipeggior!Fostiilmioprimoamore,
Elultimosarai.Vengalamorte!
Intrepidolattendo,machiopossa
Struggermiadaltraface,adaltroggetto
Donarglaffettimiei,
Cometentarlo?Ah!didolormorrei!
Nontemer,amatobene,
Pertesempreilcorsar.
Pinonreggoatantepene,
Lalmamiamancandova.
Tusospiri?oduolfunesto!
Pensaalmen,cheistantequesto!
Nonmiposso,ohDio!spiegar.
Stellebarbare,stellespietate,
Perchmaitantorigor?
Almebelle,chevedete
Lemiepeneintalmomento,
Ditevoi,segualtormeto
Pusoffrirunfidocor!

K578
2.Almagrandeenobilcore
Letuepariognordisprezza.
Sonodamaalfastoavvezza
Esofarmirispettar.
Va,favella,aquellingrato,
Glidiraichefidaiosono.
Manonmeritaperdono,
Smivogliovendicar,
Ingratononmeritaperdono,
Smivogliovendicar.

K374
3.Aquestoseno,deh!
Vieni,idolomio.Quantitimori,
Quantelacrime,ohDio,
Costiallasposatua.
Dunquetuvivi.Ohcontento!Oh
certezza!
Ohpremio!Ohspeme!Ohamor!Numi
clementi,
Nelloffrirmi,pietosi,unsbeldono,
Tuttoilvostrorigoreioviperdono.
Orcheilcielametirende,
Carapartedelmiocor,
Lamiagioia,ah,noncomprende
Chinonsachecosaamor!
Sonoallalmaungratooggetto
Lesuebarbarevicende,
Edinsendolcediscende
Lamemoriadeldolor.

95010MozartCompleteEdition
75

K295A
4.Basta,
Vincesti,eccotiilfoglio.
Vediquantotadoroancoraingrato.
Conuntuosguardosolo
Mitogliognidifesaemidisarmi;
Edhaicorditradirmi?Epoilasciarmi?
Ahnonlasciarmi,no,bellidolmio;
Dichimifider,setuminganni?
Divitamanchereineldirti:addio,
Chevivernonpotreifratantiaffanni!

K577
5.Aldesodichitadora
Giunsealfinilmomento
Chegodrsenzaaffanno
Inbraccioallidolmio.Timidecure,
Uscitedalmiopetto,
Aturbarnonveniteilmiodiletto!
Oh,comeparcheallamorosofoco
Lamenitdelloco,
Laterraeilcielrisponda,
Comelanotteifurtimieiseconda!
Aldesodichitadora,
Vieni,vola,omiasperanza!
Morir,seindarnoancora
Tumilascisospirar.
Lepromesse,igiuramenti,
Deh!rammenta,omiotesoro!
Eimomentidiristoro
ChemifeceAmorsperar!
Ah!chiomaipinonresisto
Allardorcheinsenmaccende!
Chidamorgliaffettiintende,
Compatiscailmiopenar.

K23
6.Conservatifedele;
Pensachioresto,epeno,
Equalchevoltaalmeno
Ricordatidime.
Chiopervirtdamore,
Parlandocolmiocore,
Ragionerconte.

K217
7.Voiaveteuncorfedele,
Comeamanteappassionato:
Mamiosposodichiarato,
Chefarete?cangerete?
Dite,allorachesar?
Manterretefedelt?
Ah!noncredo.
Giprevedo,
Mipotrestecorbellar.
Nonancora,
Nonperora,
onmivudivoifidar.

K77
8.Miserome!Qualgelidotorrente
Miruinasulcor!Qualneroaspetto
Prendelasortemia!Tantesventure
Comprendoalfin.Perseguitavailcielo
Unvietatoimeneo.Lechiomeinfronte
Misentosollevar.Suoceroepadre
Mdunqueilre?FiglioenipoteOlinto?
Dirceamoglieegermana?Ah,qual
funesta


Confusiondoppostinomiquesta!
Fuggi,fuggi,Timante!Agliocchialtrui
Nonesportimaipi.Ciascunoadito
Timostrer.Delgenitorcadente
Tusarailavergogna:equanto,ohDio,
Siparlerdite!Traciainfelice,
EccolEdipotuo.DArgoediTebe
LeFurieinmeturinnovarvedrai.
Ah,nontavessimai
Conosciuta,Dircea!Motidelsangue
Eranqueichiocredevo
Violenzedamor.Cheinfaustogiorno
Fuquelchepriatividi!Inostriaffetti
Cheorribilememorie
Saranpernoi!Chemostruosooggetto
Amestessoiodivengo!Odiolaluce;
Ogniauramispaventa;alpitremante
Parmichemanchiilsuol;stridermi
sento
Centofolgoriintorno;eleggo,ohDio!
Scolpitoinognisassoilfallomio.
Miseropargoletto,
Iltuodestinnonsai.
Ah!nongliditemai
Qualerailgenitor.
Comeinunpunto,ohDio,
Tuttocambidaspetto!
Voifosteilmiodiletto,
Voisieteilmioterror.

K383
9.NehmtmeinenDank,ihrholden
Gnner!
Sofreurig,alsmeinHerzihnspricht,
Euchlautzusagen,knnenMnner,
Ich,nureinWeib,vermagesnicht.
Dochglaubt,ichwerdinmeinemLeben
NeimalsvergesseneureHuld;
Bleibich,sowremeinBestreben,
Siezuverdienen,dochGeduld!
VonAnbeginnwarstetesWandern
DerMusenunderKnstlerLos;
MirgehtessowieallenAndern,
FortausdesVaterlandesSchoss
SehichmichvondemSchicksalleiten.
Dochglaubtesmir,injedemReich,
Wohinichgeh,zuallenZeiten
BleibtimmerdarmeinHerzbeieuch.

CONCERTARIASIII(CD121)
K21
1.Va,dalfurorportata,
Palesailtradimento;
Matisovvenga,ingrata,
Iltraditorqual.
Scoprilafrodeordita,
Mapensainquelmomento,
Chiotidonailavita,
Chetulatogliame.

K36
2.Orcheildovermastringe,
Inscelteecorterime
Gratomostrarmiaqualonorsublime,
Dicuiciricolmaste,oprenceeccelso,
Nemieipensieriimmerso
Ricercounbuonconcetto.
Ruminocollamente,
Penso,ripenso,epoinontrovoniente.
FeboeleMuseinmiosoccorsoimploro;

Comparisconotutteamedinanzi,
Confuseinvoltoecollecetreinfrante.
Dunsimilescompiglio
Lechiedolaragion,tacerlemiro,
Edopomillealpisospircocenti
Unacosripose:
Riverendopastor,taccheta,einsimil
Giornononobbligarciadireilnostro
Scorno;sullerivedellaSalzaogni
Nostropotere,ognisaperfucrine
Daquellaluceondeilsuoprencecinto.
Taliecontantisono
DiSigismondoimerti,
Cheinostriingegniincerti,
Nonsannoqualriverendocor.
Selapietsicanta,
Lagiustizianoncede,
Chognivirt,riverendo,
Siedeintronosuocor.

K209
3.Simostralasorte
Propiziaallamante,
Cheprovacostante
Ardireinamor.
Masemprenemica
Eprontaalloffese
distruggelimprese
Duntimidocor.

K210
4.Conossequio,conrispetto
Iominchinoemiprofondo
Aunsapientesperfetto,
Chelugualnonvnelmondo.
Elegualenonverr.
(Perlorgoglio,elignoranza,
Perlagranbestialit).

K256
5.ClaricecaraMiasposadevesserePerla
magneticaVirtsimpatica,Voglio
convincermiCollagramatica,Colla
retorica,Logicaefisica,Lamatematica
Nonpufallar.
DonTimoteo:Pianopercarit...
Capitano:SeinquestamusicaNonsiam
unisoniTritoniedissoni,Vuofulminar.
DellartemedicaContuttiirecipi,Con
millecabaleDellaritmetica,
DegliavvocatiContuttiglietcaetera,
Voilovedrete,
Voilosapete.Saprtrionfar.
DonTimoteo:CaroSignorDottore,
LasciatealmenchanchioVidicauna
ragion...
Capitano:ConcarteesarteConnautica
bussolaDuncoramabileLacinosura
CertaesicuraSaprritrovar.Semi
dicesteChecosaimpossibile,Quelvostro
pettoDitigreinflessibileConun
fendenteVorreispalancar.
DonTimoteo:MoltotenutoiosonoAlle
finezzesue;Macospettaccio!
Capitano:MasepoifacileSietee
pieghevole,CentobucefaliVuoche
sattacchino,ESalamanca,Firenzeepoi
Tunisi,Londra,Berlin,Roma,Torinoe
Padova,Amsterdam,Montpellier,
LivornoeGenova,Vuotestimoni
DellinclitomeritoDellamiabella,

95010MozartCompleteEdition
76

DellimpareggiabileSposaadorabileDel
celeberrimoDottorgiuridico,Medico,
fisico,ChetuttoilmondoVedremstupefar.

K295
6.Seallabbromiononcredi,
Caranemicamia,
Aprimiilpettoevedi,
Qualsialamantecor.

K420
7.Perpiet,nonricercate
Lacagiondelmiotormento,
Scrudeleinmelosento,
Cheneppurlosospiegar!
Vopensando;mapoicome?
Peruscir;machemigiova
Difarquesta,oquellaprova,
Senontrovoinchesperar?
Ah,tralireetraglisdegni
Dellamiafunestasorte,
Chiamosolo,ohDio,lamorte,
Chemivengaaconsolar!

K431
8.Misero!osogno,osondesto?
Chiusoilvarcoalluscita!Iodunque,o
stelle!
Soloinquestorinchiuso
Abitatodallombre!
Luogotacitoemesto,ovenonsode
Nellorrordellanotte
Chedenotturniaugelli
Lalamentabilvoce!Igiornimiei
Dovrquiterminar?Aprite,indegne,
Questaportainfernale!
Spietate,aprite!Alcunnonmode!E
solo,
Necavisassiascoso,
RispondeamestiaccentiEcopietoso
Edovrquimorir?
Ah!negliestremiamarisospiri
Almenpotessi,ohDio!
Daralcaromiobenlultimoaddio!
Auracheintornospiri,
Sullalialeicheadoro
Deh!portaimieisospiri,
Dcheperessamoro,
Chepinonmivedr!
Homillelarveintorno
Divarievociilsuono;
Cheorribilesoggiorno!
Chenuovacrudelt!
Chebarbarasorte!
Chestatodolente!
Milagno,sospiro,
Nessunomisente,
Nelgraveperiglio
Nessunnonmiro,
Nonsperoconsiglio,
Nontrovopiet!

CONCERTARIASIV(CD122)
KAnhang245
1.Iotelascio,ocara,addio,
vivipiufelice
Escordatidime.
Strappapurdaltuobelcore
Quellaffetto,quellamore


Pensacheatenonlice
Ilricordarsidime.

K432
2.Cosdunquetradisci,
Dislealprincipessa...Ah,folle!edio
Sondaccursarlaardito!
Silagnauntraditordessertradito!
Ilmeritai.Fuggi,Sebaste...Ah!dove
Fuggirdamestesso?Ah!portoinseno
Ilcarneficemio.Dovunqueiovada,
Ilterror,lospavento
Seguiranlamiatraccia;
Lacolpamiamistarsempreinfaccia.
Aspririmorsiatroci,
Figlidelfallomio,
Prechsitardi,ohDio!
Milacerateilcor?
Perch,funestevoci
Chormisgridateappresso,
Perchvascoltoadesso,
Nvascoltaifinor?

K479
3.Ditealmenoinchemancai

K480
4.Mandinaamabile,questodenaro
Prendilo,tientilotuttoperte.
Ohcomesietegraziosoecaro!
Quantodenaro,tuttoperme?

K512
5.Alcandro,loconfesso,
Stupiscodimestesso.Ilvolto,ilciglio,
Lavocedicostuinelcormidesta
Unpalpitoimprovviso,
Chelerisenteinognifibrailsangue.
Fratuttiimieipensieri
Lacagionnericerco,enonlatrovo.
Chesar,giustiDei,questochioprovo?
Nonsodondeviene
Quelteneroaffetto,
Quelmotocheignoto
Minascenelpetto,
Quelgel,chelevene
Scorrendomiva.
Nelsenodestarmi
Sfiericontrasti
Nonparmichebasti
Lasolapiet.

K513
6.Mentretilascio,ohfiglia!
Insenmitremailcore!
Ahi!chepartenzaamara!
Provonelmiodolore
Lesmanieedilterror!
Parto,tupiangi!ohDio!
Tichiedounsolmomento!
Figlia,tilascio!ohDio!
Chefiertormento!
Ah!mispezzailcor!
Parto!addio!tupiangi?

K539
7.EindeutschesKriegslied
IchmchtewohlderKaisersein!
DenOrientwollticherschttern,
DieMuselmnnermsstenzittern,
Constantinopelwremein!

IchmchtewohlderKaisersein!
IchmchtewohlderKaisersein!
AthenundSpartasolltenwerden
WieRomdieKniginderErden,
dasAltesolltesicherneun!
IchmchtewohlderKaisersein!
IchmchtewohlderKaisersein!
DiebestenDichterwolltichdingen,
DerHeldenTatenzubesingen,
DiegoldnenZeitenfhrtichein!
IchmchtewohlderKaisersein!
IchmchtewohlderKaisersein!
WeilaberJosephmeinenWillen
BeiseinenLebenwillerfllen
UndsichdaraufdieWeisenfreun,
SomagerimmerKaisersein!

K541
8.Unbaciodimano
Vifamaraviglia,
Epoibellafiglia,
Voletesposar.
Voisieteunpotondo,
MiocaroPompeo,
Lusanzedelmondo
Andateastudiar.
Unuom,chesisposa
Chegiovinvezzosa,
Acerticapricci,
Depriarinunciar.

K612
9.Perquestabellamano,
Perquestivaghirai
Giuro,mioben,chemai
Nonamerchete.
Laure,lepiante,isassi,
Cheimieisospirbensanno,
Atequalsiadiranno
Lamiacostantef.
Volgilietiofierisguardi,
Dimmipurchemodiomami,
Sempreaccesoaidolcidardi,
Sempretuovochemichiami,
Ncangiarputerraocielo
Queldesiocheviveinme.
10+11KV316
PopolidiTessaglia!
Ah,maipigiustofu
Ilvostropiantoavoi
Nonmencheaquestiinnocentifanciulli
Admetopadre.Ioperdo
Lamatosposo,evoi
Lamatore;lanostra
Solasperanza,ilnostroamorcinvola
Questofatocrudel.
Nonsocheprimainsgravesciagura
Acompiangermappigli
Delregno,dimestessa,odemieifigli.
LapietdegliDei
Solacirestaaimplorare,aottener.
Vedrcompagnaallevostrepreghiere,
Aivostrisacrifizi;
Avantiallaraunamiseramadre,
Duebambiniinfelici,
Tuttounpopoloinpianto
Presentercos.Forseconquesto
Spettacolofunesto,incuidolente
Gliaffetti,ivotisuoidichiaraunregno,
Placatoalfinsardelciellosdegno.
Iononchiedo,eterniDei,

95010MozartCompleteEdition
77

Tuttoilcielpermesereno,
Mailmioduolconsolialmeno
Qualcheraggiodipiet.
Noncomprendeimalimiei,
Nilterror,chemempieilpetto,
Chidimoglieilvivoaffetto,
Chidimadreilcornonha.

APOLLOETHYACINTHUS(CD127128)
Act1(CD127)
PROLOGUS
OebalusRex,fulmine
aramApollinisacrificantis
destruenteterritus,asuis
erigituretApollinem
exsulemexcipit.
Hyacinthus,Zephyrus,
deindeOebalusetMelia.

1.INTRADA

2.HYACINTHUS:
Amice!Iamparatasunt
omnia.
Aderit,utspero,cumsorore
dilectameus
Adsacra,quaeconstituit,
actutumPater.
Zephyrus:Nifallor,est
Apollo,quemcolitis.
HYACINTHUS:
Hicest.
ZEPHYRUS:
Apolliniergotantasacrificia
paratOebalus?
Analiosnescitincoelis
Deos?
AnSemelisergonatus,an
Juno,Venus,
Diana,Mars,Vulcanus,an
SupernumpotensCaput
atquePrincepsturenil
vestroindigent?
HYACINTHUS:
Quibusqueconsecramus,
oZephyre!Diis
Nullusquenostrisvacuusa
templisabiit:
AtsolusistudApollosibi
templumsuo
Vindicathonori.Genitor
huncmagnumDeum
Veneratur,etegoveneror
exemploPatris.
ZEPHYRUS:
Ocare!Quamlibenter
offerremilia
Pectusque,situApollo
mihimeusfores!
HYACINTHUS:
DilectequidmeZephyre!
PermiscesDiis?
Honorenonmedignor,at
novibene:
Extorsitistanimiusin
Hyacinthumamor.
(VenitOebalusetMelia.)
Seden!Sororecomite
nuncGenitorvenit.


OEBALUS:
Dicnate!Numparatasacrificio
hostia
Etignes?
HYACINTHUS:
Eccegenitor!Adnutum
omnia
Parataprstolantur
adventumtuum.
OEBALUS:
Bene:ergosuccedantura
flaminefocus,
Etthureplurimoaraprgravis
gemat,
Fumusquesacrificantisin
nubeseat.
MELIA:
Heugenitor!Atranube
tempestasminax
Ingruit,etomnisglomerat
hucnoctemPolus.
OEBALUS:
Adeste!Longiorisimpatiens
mor
Apollothusethostiama
nobispetit.
Fugietadistassvatempestas
preces,
Etblandafaciessolishis
iterumplagis
Redibit.Agite!Funditeet
mecumpreces.

3.CHORUS:
NumenoLatonium!
Audivotasupplicum,
QuiterdignoTehonore
Certantsanctecolere:
HosbenignoTufavore
Subditosprosequere.
Oebalus:OApollocreditam
Tibisemperprotege
Etdignarelumine
OebaliLaconiam.
(Fulmenignemetaram
destruit.)
Melia,Oebalus,Hyacinthus,
Zephyrus.

4.MELIA:
Heume!Periimus!Numen
heunostrasprecesrespuit!
Oebalus:Analiquisforsan
exvobisDeumviolavit?
MALIA:
HaudmeGenitorullius
ream
Invenioculp.
HYACINTHUS:
SemperhunccoluiDeum.
(OZephyre!Quantum
timeoneverbistuis
Hcirasitsuccensaqudixti
prius.)
ZEPHYRUS:
(Hyacinthe!Simediligis,
celaPatrem,
Etverbaprolatapriusa
nobistace!)
OEBALUS:
Extinctusignis,arasubversa,

hostia
Contemptanobisgrande
prsagitmalum!
Heutotushocconcussusa
fulminetremo!
HYACINTHUS:
ErigerementemGenitor!
Insonentemgeris
Animum,quidergo
Numineabonomali
Metuas?Abistofulminees
lsusnihil,
Nostrumquenemo,quotquot
adsumus,ruit.
Vivimus,etomnespristinus
vigorbeat:
Hincterruissevoluithoc
fulmineDeus
Terras,potestaspateatut
mundomagis,
Maneatquecumfiduciain
nobistimor.

5.SpeterrentNumina,
Surgunt,etminantur,
Finguntbella,qunos
angunt,
Mittunttela,qunontangunt,
Atpostfictanubila
Ridentetiocantur.
Etamore
Ettremore
Gentesstringuntsubditas:
Nuncamando,
Nuncminando,
Salvastatauctoritas.
Oebalus,deindeApollo,
Hyacinthus,Melia,Zephyrus.

6.OEBALUS:
Ah,Nate!Veraloqueris:at
metuotamen,
Apolloneforsperdathoc
igneOebalum.
(AcceditApollo.)
APOLLO:
Apollovestrasaudit,ocredite!
preces
Suamquepolliceturhis
terrisopem,
Reciperesivelitishunc
modoexsulem
Iramquefulminantisexosum
Iovis.
OEBALUS:
Quid?Numenhacsub
vestepastorislatens
Innostraprsensregna
suscipicupit?
HYACINTHUS:
EnGenitor!utlusissenos
superisolent!
Iamtibimedelamsva
postvulneraDeus
Adfert,tuamqueregiam
prsensbeat.
MELIA:
Oquambeatosiderehc
nubiladies
Nosrecreat,ipseApollo
dumnostroslares

95010MozartCompleteEdition
78

Optatushospesvisitat!O
quantusdecor!
Quforma!quantadignitas!
Quantaomnibus
Gloriaquemembrisatque
maiestassedet!
APOLLO:
Melia!quidinpastoretam
dignumvides
Suspensaquodmirere?
MELIA:
Video.
Apollo:Etquidvides?
Eloquerepulchra!
MELIA:
VideopulchrumApollinem,
CuicumParentecorda
iamdudumobtuli.
APOLLO:
Quodobtulistipectus,
haudrevocaamplius;
Hocinterorbisdona
prprimisplacet.
ZEPHYRUS:
(Hyacinthe!quantum
timeoprsentemDeum!)
HYACINTHUS:
(Mequoquetremenda
dignitastimidumfacit.)
APOLLO:
Hyacinthe!amicumsemper
addictumtibi
Habebisinme,amaresi
Deumpotes.
HYACINTHUS:
Oquantares,diligeresi
Hyacinthumpotes!
Zephyrus:(Heu!nunc
amatumApollomihi
puerumrapit!)
OEBALUS:
Diesbeata!Numenosanctum!
meos,
Maneresidignaris,ingredere
Lares,
Diuquemerogantenobiscum
mane.
APOLLO:
Habebisinme,crede,tibi
facilemDeum.

7.IampastorApollo
Custodiogreges,
Nixusetbaculo
Vigilanssto;
Iampascerenolo
Etvisitoreges,
Iammedicinas
Mortalibusdo.
Moestuslevare
Aegrosiuvare
Estsolatangens
Apollinemres:
Hicmemanente,
Vobisfavente,
Rexomnirege
Beatiores.
CHORUSI
Apollopropternecem
HyacinthoillatamOebali


regiadiscedereiubetur.
Oebalus,Melia.

Act2
8.OEBALUS:
AmarenumquidFilia,
hauddubito,Deum,
Favorequiterdignusest
nostro,potes?
MELIA:
Quidloquere,Pater?Apollo
mortalem
Sibimeiugalicupiatadiungi
toro?
OEBALUS:
Dubitarenoli,Apollote
sponsampetit,
Meumque,libertatesed
Natautere
Tua,rogantiplacidus
adsensumdedi.
MELIA:
Negarecumme,Genitor!
adsensumputes?
Quvirgocontempsisse
divinumvirum
Tantosquehonores,stulta
nisietanimiimpotens
Fuerit,etobstitissefortun
velit?
OEBALUS:
PrudenteristudNata!
coniugiumeligis;
SicnamqueperteFrateret
Genitortuus,
SicetNepotessortedivina
eminent
Sicnostradivaefficiturhis
facibusdomus.
MELIA:
Dic,ubimoraturApollo?
colloquioillius
Outliceretoptimoactutum
frui!
OEBALUS:
CumFratrediscoluditet
Zephyrosimul
Innemore.Athucredibit,
utspero,citus
Tuumquemeprsente
consensumpetet.
Melia:Opetat!habebit
omne,quodpectuscupit.

9.Ltari,iocari
Fruiquedivinis
Honoribusstat
DumHymenoptimus
Tdisetfloribus
Grata,beata
Connubiaiungit
Etgaudiadat.
Iamdivavocabor
SiNumenamabo;
Perastravagabor
Etnubescalcabo;
Eturbes,etregna
Devoveantse,
EtFauniadorent,
EtSatyrime.

(AcceditZephyrus.)
Zephyrus,Oebalus,Melia.

10.ZEPHYRUS:
Rex!desaluteFiliiest
actum;iacet
Hyacinthus!
OEBALUS:
Heume!nuntiumotristem
nimis!
Quamortececidit?
ZEPHYRUS:
Ictusadiscoruit.
Oebalus:QuisFiliumoccidisse
nontimuitmeum?
ZEPHYRUS:
Apollo.
OEBALUS:
Contremisco!
MELIA:
Superiquid?Deus,
Quimebearevoluit,hic
Fratrinecem
Sitmachinatus?Istaquis
credattibi?
ZEPHYRUS:
Veraloquor,ettestisego
pereuntisfui.
VixlapsusestHyacinthus,
aufugi,malum
Nesimileferiatforsanet
nostrumcaput.
OEBALUS:
SicergoplectisNumen
innocuos?Favor,
Quoterecepi,mortenum
Natiunici
Dignuserat?ErgoMeliam
etNatamquoque
SurriperePatri,Numen,o
falsumparas?
MELIA:
OabsitameGenitor!ut
sponsumeligam,
Deoque,quicruoreGermani
madet,
Nupturaporrexisseprsumam
manus.
ZEPHYRUS:
(Quidaudio?anconiucia
meditaturDeus?
AnMeliametrapuisse
mihiamatamcupit?
QuirapuitHyacinthi,
anneetistiusmihi
Rapietamorem?)
OEBALUS:
Zephyre!qucausa
improbum
Adegithocadfacinus?
Zephyrus:Haudullamscio.
Natusadamoenumlitus
Eurotstetit,
Duscumquematproximum
adspiciens,meus,
Clamabat,eccediscusest
vestroprior,
Metamquetetigit.Apollo
tumdiscumiacit,
Loquentisetpropelliin
puericaput,

95010MozartCompleteEdition
79

Quolsusistepronusin
terramruit.
Nondubito,quinextinctus
hocdisciimpetu
Fuerit.
OEBALUS:
Ansicfurerenondubitat
Deus,
Utsibibrnignumprivetet
proleOebalum?
ExisseregnoNumeninvisum
mihi
Meisqueiubeo.Zephyre!
facpellasreum,
Maiorane,velpluramihi
damnainferat.
ZEPHYRUS:
Rex!regnatuasunt:ipse
tupelleimpium.
TumorteNatilsuses.
TimeoDeum,
Quifulmenhoctorqueret
innostrumcaput.
(Expellatutinam!noster
utpossitdolus
Latere;namcdisegosum
factreus!)
OEBALUS:
Abibo!Vosmanete!Si
veniatDeus
Advos,abire,Nata!crudelem
iube.
AdlitusEurotibo,num
vivat,meum
VidereNatum.Forsan
occurretmihimihi
Apollo,regnisNumenexosum
meis.
(Abit.)
ZEPHYRUS:
(Succeditadmeavota,
succeditdolus,
Meliaquemeadilectanunc
coniunxmanet.)
Melia:Noncapio,cur
Apollonelsusquidem
Necarituniceantedilectumsibi
Hyacinthum.Amarequi
Sororemmequeat,
SiFratrisantepolluatfato
manus?
ZEPHYRUS:
Dilecta!nemirare,quod
tantumscelus
Apolloperpetrarit;haud
nostiimpium:
Astutusest,crudelis,
inconstans,levis:
Hincexulareiussusest
coelis,suo
FuroreneturbaretunamnimesDeos.
Melia:Melioracredidisse
detantoDeo
Mensdictat(astincertus
estanimustamen,
Timorquespesquepectore
alternantvices).
ZEPHYRUS:
Melia!quidanimovolvis?
ah!Sponsumabice,
Cuiuscruoredextrafraternocalet,


Zephyrumque,cuiusipsa
satnostifidem,
Amore,quobeatusefficiar,bea.
MELIA:
NuncfataFratriscogito,
haudZephyrifaces.
ZEPHYRUS:
Odura!numsprevissesic
Zephyrumpotes?

11.En!Duosconspicis:
Amantemetnocentem,
Iuvantemetfurentem;
Cuimanumporrigis?
Apollotenecabit,
AtZephyrusamabit,
Fraternoquidexteram
Tinxitcruore,
Tentabitintenera
PluraSorore:
Quemprudenseligis?

Act3(CD128)
Zephyrus,Melia,deindeApollo.
1.ZEPHYRUS:
Heu!Numen!ecce!
Numenhucgressum
movet;
Meliaquidagimus?indica
effugiilocum!
Timeoferocem.
MELIA:
Anergomesolamobiicis?
Subsiste!namiactatasic
perstatfides?
ZEPHYRUS:
Nepatere,quso,utnoceat
insontiDeus!
(AcceditApollo.)
APOLLO:
Adesnelatro!fraudis
infandartifex!
Hyacinthumamicum
raperenonfueratsatis?
Rapuissesponsamnumquid
etnostramsimul,
Sceleste,tentas?crimenet
mendaxnovis
Criminibusauges?Impie!
iratumtibi
Quidpossit,experire,iam
Numenmodo!
Amantisetnocentis,et
iustequidem
Nocentisexperirevindictam
Dei!
Irruite,venti!claudesceleratum
specu
Aeole!
ZEPHYRUS:
Quid!heume!
(Zephyrusinventum
mutatusabripitur.)
MELIA:
Quidagis,oNumengrave!
Funeribusanreplerevis
regnumPatris?
IamFratrecsooccidiset
Zephyrumsimul?
Tyranne!nuncetMeliam
etregemobprimes?

APOLLO:
Ocara!
MELIA:
Quid!vocassemecaram
audes?
Cruente!
APOLLO:
Meperciperesinonsit
grave.
MELIA:
Estgrave,tace!atquenostra,
sicGenitoriubet,
Illicorelinqueregna,ne
noceasmagis!
APOLLO:
(Ah,ponetandemfulmen
oSupernumPater!
Quousquepersequeturhic
miserumfuror?)

2.MELIA:
Discedecrudelis!
Gaudebo,tyrannus
Sideseritme!
Vah!insolentem,
Quiviolatiura!
Discede!discede;
Nammetuote.
APOLLO:
Est,crede!fidelis,
EstmitisApollo,
Quideperitte.
Quid?innocentem
Sicabicisdura!
Sicperdisamicum,
Sireiicisme.
Quemcoelipremunt
inopem,
Anterrisagatexsulem?
Manebo!
Quousquesederitdira,
Qupectorasauciatira,
Latebo.
CHORUSII
Oebalus,cognitaApollinis
innocentia,huncbenigne
recipit,eiqueFiliamconiugem
tradit.
Hyacinthus,Oebalus.

3.HYACINTHUS:
Nonest.
Oebalus:QuisergoNate!
dic,siPatremamas,
Quisteperemit?
HYACINTHUS:
Zephyrus;heume!si
Deus
Adesset!
OEBALUS:
Heu,iammoritur!
HYACINTHUS:
OPater!Pater!
Morsestacerba!
OEBALUS:
Nate!
HYACINTHUS:
Genitor!Ah!Vale!
(Moritur)
OEBALUS:
Hyacinthe!Nate!vixit

95010MozartCompleteEdition
80

exanimisiacet!
Apollo,dixit,innocensest
oPater!
Credemihi,nonest,
Zephyrusestauctornecis.
SicergomecumZephyre
termendax!agis?
SicNumenipsumsceleris
ettantireum
Arguere,sicmefallere
haudRegemtimes?
Cruente!faximcrimen
hocproprioluas
Cruore!MortemFiliian
inultusferam?

4.Utnavisinquoreluxuriante
Permontes,pervalles
undarumiactatur,
Etiamiamproximanubibusstat,
EtiamiamproximaTartaronat:
Sicbilisapectorebella
minante
Percorpus,pervenas,per
membragrassatur;
Furoresublevor;
Doloredeprimor;
Ira,vindictaconglomerantse,
Atquequassarenondesinuntme.
(AcceditMelia.)
Melia,Oebalus.

5.MELIA:
Quocumquemeconverto,
crudelisDei
Monumentadetestanda
conspicio.Prius
PerireZephyrumvideram,
etFratremmodo
Videonataresanguineinsontemsuo.
OEBALUS:
QuidcomitenulloFilia
hucinferspedem?
Anlatroiamiamfugit?
MELIA:
Hunciussiillico
Vitarenostraregna,nam
cdemimprobus
Novagravarecdenon
timuitDeus.
OEBALUS:
Quidloquere?cdem
Nata!quamnarras
novam?
MELIA:
ORex!amicumrapuit,et
Zephyrumquidem,
Ventisquemevidentelacerandum
dedit.
OEBALUS:
OiustusestApollo,dum
plectitscelus,
Quodimputavitperfidus
etatroxDeo
Zephyrus!hicauctor,Filia!
estfactnecis.
NonestApollo:Zephyrus
inFratremtuum
Discumagerenondubitavit.
MELIA:
UndeautemPater!


Hcnossepoteras?
Oebalus:Natushicretulit
mihi,
Namvivusestinventusa
nobis.Meis
Extinctusestinmanibus.
MELIA:
Heume!quid?Pater!
Quidergoregnoexisse
iussistiDeum?
OEBALUS:
Filia!doloremotusest
Zephyridolus
Delusus,idiussisseme
memini.Impium
Quistalesibitimuisseta
Zephyroscelus?
MELIA:
OGenitor!omnesperditi
iamiamsumus!
Discessit,heu!discessita
nobisDeus!
Ocrede,noninultusid
probrumferet.
OEBALUS:
Quid?Nata!discessisse
iamNumenputas?
MELIA:
Nildubito;namqueexire
deregnotuo
Apollinemipsa,linquereet
nostroslares
Iussi.Outhancrevocare
nuncpossem
Deum!
OEBALUS:
Heu!fataquamsinistra
noshodieobruunt!

6.Natuscadit,
AtqueDeus
Menolente,
Nesciente
Lsusabit.
RegnumsineNumine
Iamnondiustabit:
Numen!quso,flectere,
Etadnosrevertere!
MELIA:
Fratercadit,
Atquemeus
Teiubente
Medolente
Sponsusabit.
Sponsasinecomplice
Quaeso,quidamabit?
Nolisponsamplectere!
Numen!ahregredere!
(AcceditApollo.)
Apollo,Oebalus,Melia.

7.APOLLO:
Rex!meredirecogitin
Hyacinthumamor.
Ignosce,quodNumenego
tuaregnaaudeam
Prsensbeare!Disce,quid
Numenqueat!
Hyacinthesurge!funuset
floremulo
Nomenqueprferente

Defunctitege.
(Subsidenscumfuneretellus
hyacinthosfloresgerminat.)
Oebalus:Quidvideo?Surrexisse
deNatomeo
Conspicioflores?
MELIA:
Numenonimiumpotes!
Pudoreme,suffusaprofiteor
ream.
AdverbaZephyri,Patris
adiussaomnia
Qumepoenitet,feci.
[...]
OEBALUS:
Optime
ParceDeus!Ignarusego,
quisfueritnecis
Auctorpatrat,pessimo
Zephyrofidem
Habui,meumquecredidi
Natumtua
Periissefraude.Zephyruso
quantaimprobus
Induxitinregnamea,ni
parcas,mala!
MELIA:
ONumen!haudfuisse
contemptumputes;
Abirequodteiusserim,
imprudensfui
Credulaquenimium,etira
mihiverbaabstulit,
QudedoloreFratris
occisimeant.
APOLLO:
ConfideRex!Apollonon
fugiettua
Regna.Manet,etmanebit
heictecum,fide
Iamstaresipromissa
demonstrestua.
OEBALUS:
Intelligo.EcceNata!te
sponsamDeus
Dignatuselegisse.
MELIA:
NumcredamDeum
AmareposseMeliam?
Apollo:Ocrede!ipsemet
Iuppiteramarespemortales
solet;
Amarenamqueconvenit
tantumDiis,
Vobisamari.
MELIA:
Numen!enfamulam,suo
QuproParentepectus
hocofferttibi.
OEBALUS:
En!Siplaceresponsamortalis
potest,
Apollo!nostraFiliam
adductammanu
Accipe,meoquesemperin
regnomane.
Hyacinthusobiit:alter
Hyacinthusmihi
Eris,manereFiliahacfactus
gener,
Regionesidignerisinnostra.

95010MozartCompleteEdition
81

APOLLO:
Oebale!
AccipioltusMeli
oblatmanum,
Rebusquesemperplacidus
adsistamtuis.
MELIA:
IustitiasictuaDeuselucet
magis.
Oebalus:Sicinnocentem
debitahaudmercesfugit.
APOLLO:
Sicsclatefuturaclementem
sonent.

8.Tandempostturbida
Fulmina,nubila
Tonantismurmura,
Paxalmavirescit
Etexplicatse.
MELIA:
Postvinvladoloris
Nosiungitamabile
Pignusamoris.
Postfata,beata
Nostdacoronet
Eterigatte
OEBALUS:
Postbellafuroris
Vosiungitamabile
Pignusamoris.
Postfata,optata
Vostdacoronat
Etexcitatme.
APOLLO:
Postmonstrapavoris
Nosiungitamabile
Pignusamoris.
Postfata,sperata
Nostdacoronet
Eterigatte.
FINIS

BASTIENUNDBASTIENNE(CD129)
Scene1
(DieBhnestellteinDorfdar,mitderAussicht
aufsFeld.)
No.1Arie
BASTIENNE
MeinliebsterFreundhatmichverlassen,
MitihmistSchlafundRuhdahin.
IchweivorLeidmichnichtzufassen;
DerKummerschwchtmirAugundSinn.
VorGramundSchmerzerstarrtdasHerz,
UnddieseNotbringtmirdenTod.

No.2Arie
BASTIENNE
IchgehjetztaufdieWeide,
Betubtundganzgedankenleer.
IchsehzumeinerFreude
NichtsalsmeinLmmerheer.
Ach!ganzallein
VollerPein
Stetszusein,
BringtdemHerz
NurQualundSchmerz.

Scene2
No.3ColasAuftritt(Orchester)


No.4Arie
COLAS
BefragetmicheinzartesKind
UmseinzuknftgesGlcke,
LesichdasSchiksalihmgeschwind
AusdemverliebtenBlicke.
Ichsehe,blodesLiebstenGunst
KannzumVergngentaugen.
WieleichtwirdmirdieZauberkunst
BeizweiverliebtenAugen.

No.5Arie
BASTIENNE
WennmeinBastieneinstimScherze
MireinBlmchensonstentwand,
DrangmirselbstdieLustdurchsHerze,
DieerbeidemRaubempfand.
WarumwirdervonGeschenken
Einerandernjetztgeblendt?
Alles,wasnurzuerdenken,
Wardihmjavonmirgegnnt.
Meiereien,FeldundHerden
BotichihmmitFreudenan.
Jetztsollichverachtetwerden,
Daichihmsovielgetan.

No.6Arie
BASTIENNE
WrdichauchwiemancheBuhlerinnen
FremderSchmeicheleienniemalssatt,
WolltichmirganzleichtdasHerzgewinnen
VondenschnstenHerrenausderStadt.
DochnurBastienreiztmeineTriebe,
UndmitLiebewirdeinandrerniebelohnt.
Geht,geht,geht!sagich,
GehtundlerntvonmeinerJugend,
DadieTugend
AuchinSchferhttenwohnt.

No.7Duett
COLAS
AufdenRat,denichgegeben,
Sei,meinKind,mitFleibedacht.
BASTIENNE
Ja,ichwerdemichbestreben,
Ja,meinHerr,beiTagundNacht.
COLAS
Wirstdumirauchdankbarleben?
BASTIENNE
Ja,meinHerr,beiTagundNacht.
COLAS
OdieUnschuld!dirzumGlcke
MeidejetztdiefinsternBlicke,
NimmeinmuntresWesenan.
BASTIENNE
Ja,meinHerr,sogutichkann!

Scene3(Bastienneab)
Scene4(Bastientrittauf)

No.8Arie
BASTIEN
GroenDankdirabzustatten,
HerrColas,istmeinePflicht;
DuzertleistdesZweifelsSchatten
DurchdenweisenUnterrricht.
Ja,ichwhlediezumGatten,
DiedesLebensGlckverspricht.
IndenangebotnenSchtzen,
BastiennesLieblichkeit
MachtmichmehralsGolderfreut.

No.9Arie
BASTIEN
Geh!DusagstmireineFabel.
Bastiennetrgetnicht.
Nein,sieistkeinfalscherSchnabel,
Welcherandersdenktalsspricht.
WennmeinMundsieherzignennet,
Hltsiemichgewifrschn,
UndwennsievorLiebebrennet,
MudieGlutvonmirentstehn.

No.10Arie
COLAS
Diggi,daggi,
schurry,murry,
horum,harum,
lirum,larum,
raudi,maudi,
giri,gari,
posito,
besti,basti,
saronfroh,
fatto,matto,
quidproquo.
(ab)

Scene5
No.11Arie
BASTIEN
MeinerLiebstenschneWangen
Willichfrohaufsneuesehn;
BloihrReizstilltmeinVerlangen,
Goldkannichumsieverschmhn.
WegmitHoheit,wegmitSchtzen!
EurePrachtwirktnichtbeimir.
NureinMdchenkannergtzen
Hundertmalnochmehralsihr.
Wuchrer,diebeistolzenTrieben
BlodasSeltnesonstentzckt,
WrdenihreUnschullieben,
Schtzensichdurchsiebeglckt.
Dochumsonst,hiersinddieGrenzen,
Sieistnurfrmichgemacht,
UndmitkaltenReverenzen
WirdderReichtumhierverlacht.

Scene6
No.12Arie
BASTIENNE
Erwarmirsonsttreuundergeben,
MichliebteBastienallein,
MeinHerzenurwarseinBestreben,
Nurich,sonstniemandnahmihnein.
DasschnsteBildgefielihmnicht,
AufmichnurwarseinBlickgericht,
Ichkonntvorandernallen
Ihmreizen,ihmgefallen.
AuchDamenwurdennichtgeschtzt,
DieoftseinBlickinGlutgesetzt.
WennsieGeschenkegaben,
Mutichdieselbenhaben;
Michliebteer,nurmichallein.
Dochnunwillersichandernweihn,
VergebensdiesonstsenTriebe
UndwirdeinFlattergeist.

No.13Arie
BASTIEN
Gehhin!
DeinTrotzsollmichnichtschrecken.
IchlaufaufsSchlo,

95010MozartCompleteEdition
82

Dasschwrichdir,
UndwillderEdelfrauentdecken,
MeinHerzgehregnzlichihr.
Ltsiewiesonstsichzrtlichfinden,
Willichmichgleichmitihrverbinden.
BASTIENNE
Ichwill!
IchwillmichindieStadtbegeben,
Anbetertreffichdaleichtan:
WieeineDramwillichdortleben,
DiehundertHerrenfesselnkann.
BASTIEN
IchwerdinGoldundSilberprahlen,
UndeineLiebstevollerPracht
WirddieGewogenheitbezahlen,
WodurchmeinBlicksieglcklichmacht.
MirihreSchtzezuverbinden,
Sollsiemichgarnichtsprdefinden.
BASTIENNE
DenSchnensinddieKostbarkeiten
InStdtenzuerwerbenleicht.
Esbraucht,umselbezuerbeuten,
Nichts,alsdamansichfreundlichneigt.

No.14Rezitativ
BASTIEN
DeinTrotzvermehrtsichdurchmeinLeiden?
Wohlan!denAugenblick
HolichzudeinenFreuden
MirMesser,DolchundStrick.
BASTIENNE
VielGlck!
BASTIEN
Ichgehmichzuerhngen.
Ichlauf,ohnalleGnad,
ImBachmichzuertrnken.
BASTIENNE
VielGlckzumkaltenBad!

No.15Duett
BASTIENNE
Geh!HerzvonFlandern!
Suchnurbeiandern
ZrtlichverliebtGehr,
Denndich,dennich
Liebichnichtmehr.
BASTIEN
Wohl,ichwillsterben;
DennzumVerderben
ZeigtmirdeinHadieSpur;
DrumlaichDorfundFlur.
BASTIENNE
Falscher!Dufliehest?
BASTIEN
Ja,wiedusiehest.
Weildicheinandrernimmt,
IstschonmeinTodbestimmt.
IchbinmirselbstzurQual,
KeinKnechtcondemRival.
BASTIENNE
Bastien!Bastien!
BASTIEN
Wie?durufstmich?
BASTIENNE
Duirrestdich.
IndeinemBlick
WirdnunmeinGlck
Nichtmehrgefunden.
BASTIEN
WoistdieseZeit,
DadichmeinScherzerfreut?


BASTIEN,BASTIENNE
Sieistanjetztverschwunden,
Geh!falscherSeele!
Fort!icherwhle
FrmeinezarteHand
EinandresEheband.
WechselimLieben
TilgtdasBetrben
Undreizet,wiemansieht,
ZurLustdenAppetit.
BASTIEN
Dochwennduwolltest
BASTIENNE
Dochwenndusolltest
BASTIEN
Schatzmichnochnennen
BASTIENNE
DiesHerzerkennen
BASTIEN,BASTIENNE
WrmeineZrtlichleit
Aufsneuedirgeweiht.
BASTIEN
Ichbliebedeinallein.
BASTIENNE
Ichwrdedeinaufewigsein.
BASTIEN
GibmirzumeinemGlck
DeinHerzzurck,
Umarmemich,
Nurdichliebich.
BASTIENNE
OLust,oLust
FrdieentflammteBrust!
BASTIEN,BASTIENNE
Komm,nimmaufsneue
NeigungundTreue!
IchschwrdemWechselab
UndliebdichbisinsGrab.
Wirsindvershnet,
DieLiebekrnet
UnsnachdembangenStreit
DurchtreueZrtlichkeit.

Scene7(Collastrittauf)
N.16Terzett
COLAS
Kinder!Kinder!
Seht,nachSturmundRegen
WirdeinschnerTaggebracht,
EuerGlcksollnichtsbewegen;
DanktdiesmeinerZaubermacht.
Auf!Auf!gebteuchdieHand!
KnpftdieSeelenunddieHerzen!
NichtsvonSchmerzen
Werdeuchjebekannt.
BASTIEN,BASTIENNE
Lustig!lustig!
PreistdieZaubereien
VonColas,demweisenMann!
UnsvomKummerzubefreien,
HaterWunderheutgetan.
Auf!auf!stimmtseinLoban!
ErstiftunsreHochzeitsfeier.
O,zumGeier,welchtrefflicherMann!
COLAS,BASTIEN,BASTIENNE
Auf!auf!stimmtseinLoban!
ErstiftunsreHochzeitsfeier.
O,zumGeier,welchtrefflicherMann!

LAFINTASEMPLICE(CD130132)
Act1(CD130)
Giardinoconunvialedalberichesistendealla
pianurasopradunaeminenza,ovetermina
nellafacciatadunpalazzinodacampagna.
1.Sinfonia

Scene1Giacinta,Ninetta,Fracasso,Simone.
2.GIACINTA,FRACASSO,NINETTA,SIMONE
Bellacosafarlamore!
Belloassaideglianniilfiore!
Bellapilalibert!
GIACINTA
Maunmomentocosbello
Forsepinontorner.
FRACASSO
Sonsoldato,eafarduello
Guaisealcunmisforzer.
NINETTA
Bravoquesto,e
bravoquello,
Manissunmesposer.
SIMONE
Latuatestaunmolinello
Questosoltemermifa.

3.GIACINTA
Ritiriamoci,amici
Chetemoessersorpresa
Damieifratellisbizzarrie
strani!
NINETTA
Addio,Simone,ecivedrem
domani.
FRACASSO
Macospettodibacco!
Sonpurduemesiadesso,
Cheincasavostraabbiam
stanzaequartiere;
Etuttaviasiteme
Sesiamtrovatidue
momentiinsieme.
GIACINTA
Sapetepurchisono
Iduefratellimiei?
NINETTA
Sonoduepazzi,
Duestorni,duemerlotti,
Duegrancaricature.
FRACASSO
Cheimportaame?Sianpure;
Iolifartremare.Alfinsitratta
Difarvisposamia.
SIMONE
Sitrattaalfine.
Chepossaanchiosposar
questaragazza.
GIACINTA
Guai,selosailmaggiore,
eglineammazza.
FRACASSO
Lammazzeremolui.
SIMONE
Lisforzeremo
Aquestenozze
entrambi.
NINETTA
Oh,nonfateglistrambi,
Cheperfarqueste
nozze
Nonvalbravura,e

95010MozartCompleteEdition
83

furberiacivuole.
FRACASSO
Comesarebbeadir?
NINETTA
Sarebbeadir?
Chelundemieipadroni
Perchfumaltrattato
Dasuacognatauntempo,
elaltropoi
Pertimoredelprimo,
orsondelpari
Nemicidelledonne.
SIMONE
Ohchesomari!
FRACASSO
Dunque,chevuoitufare?
NINETTA
Vfarliinnamorare.
FRACASSO
Dichi?
SIMONE
Diqualchevecchia
Chesappiafarlabella?
NINETTA
Nonaspettatevoivostrasorella?
FRACASSO
Arriveramomenti.
NINETTA
Fate,cheparlimeco
Piprestochepotete;
Fate,chevogliaanchella
Regolarsiamiomodo,
enontemete,
Chenoicisposerem
quandovolete.
FRACASSO
Quandononvuoichequesto,
Iofartutto,epresto.
Ol,Simone,allosteriavicina
Smontardeemiasorella.
Ivilaspetta,
VaadavvisarNinetta
Subitochesiagiunta,
esiatuacura,
Chelepossaparlarsenzapaura.
SIMONE
Benissimo,signore,
Maquandoavranparlato
Questeduevolpiinsieme
Iodubitodipioggia,edi
tempesta;
Etuttinediran;guardalatesta.

4.AriaSIMONE
Troppabrigaaprendermoglie,
Troppabrigainverit.
Noncosadasoldato,
Chelavuoleabuonmercato
Odimenoancornefa.
Sonledonnebelleebuone,
Masetantohandacostar,
Perunsolmazzodicarte,
Perunfiascodibuonvino,
Perduepipeditabacco,
Veledotutteinunsacco,
Nmivopimaritar.
(Parte.)


Scene2Ninetta,FracassoeGiacinta.
5.NINETTA
Lundepatronialzato
Chapertegilesue
finestreioveggio.
FRACASSO
Ben,chesarperquesto?
NINETTA
Ohniente,cheavostrogrado
Restatevoi,cheatrappolarli
iovado.
(Parte.)
FRACASSO
Ninettascaltraassai.
GIACINTA
Maassaiconoscoimiei
fratellianchio.
FRACASSO
Adunuomoparmio,
Cheadessifarpotrebbe
unbruttogiuoco,
Perdirdinocipenseranno
unpoco.
GIACINTA
Veldirancertamente.
FRACASSO
Semeldiran,farne
saprvendette;
Saprsposarviaforza
Saprcondurvialtrove,emi
trattengo
Solperchspero...
GIACINTA
Oib,signor,nonvengo.
FRACASSO
Cosnonfaremnulla.
Troppofreddavoisiete,
Nsapeteallafin
cosavolete.
GIACINTA
Sochevivoglioben.
FRACASSO
Delvostrobene
Chenhodafar,
sepresto
Nonarrivoasposarvi,
eviperdete
Inocchiate,einsospiri,
Chnoisoldatinon
contiamounfico?
GIACINTA
Pian,checipensiun
poco,evelodico.

6.AriaGIACINTA
Maritoiovorrei
Masenzafatica.
Averlo,secomoda
Lasciarlo,seintrica;
Cheaspettideglianni,
Chesolelemani
Glibastibaciar!
Insommaiodesidero
Unuomodingegno,
Mafattodilegno,
Chedovelometto,
Lsappiastar.
(Parte.)

Scene3Fracasso,poiCassandro.
7.FRACASSO
Oh,staremmaleinsieme
Chellatuttadighiaccio,
iotuttofuoco,
Mapurelamounpoco
Esearrivoasposarlaamio
talento.
Nonmifopiammazzar
percomplimento.

8.AriaCASSANDRO
Noncalmondo
altrochedonne:
Masianbelle,masiabuone,
Nonmivoglioinfemminire,
Nonmivomatrimoniar.
Servitore...ssignore,
Suasorella...lhoconella,
Vadaaltroveadabitar.

9.FRACASSO
ConchilhaDon
Cassandro?
CASSANDRO
Lhoconicapitani,
Collecapitanessesuesorelle,
Coglialfier,coisergenti,
Coitamburi,eletrombe,
Coicannoni,elebombe,
Cheororvorrancon
vostrasignoria
Ilquartiergeneralein
casamia.
FRACASSO
Eforsegiarrivata
LaBaronessamiasorella?
CASSANDRO
Appunto.
Nonfossemaivenuta!
FRACASSO
Lavetevoiveduta?
CASSANDRO
Nonlavoglioveder:
donnenonvoglio
Incasaacquartierate.
FRACASSO
Amelodite?Andate
Adirloachisiaspetta.
CASSANDRO
SpedirinTransilvania
unastaffetta.
FRACASSO
Dovesonio,cideve
Starmiasorellaancora
Chedelparivonora.
CASSANDRO
Oh,losappiamo;
Macivuolconvenienza,
Sidomandalicenza
Epurchnoncivenga
acivettare,
Vedremo...epenserem
cheshadafare.
FRACASSO
Ellasalecreanze
Soilmiodovere
anchio;
prialavedete,
Epoideciderete.

95010MozartCompleteEdition
84

CASSANDRO
Eh,lavedremo;
Perchsideecerimoniar
ladonna
Perlasuafratellevol
fratellanza;
Delrestohoperusanza,
Vodir,chestarcostumo
Allalargadalfumo.
Imperciocchquantunque
Lamilitaresuabaroneria
Lavorreipersuasa,
Chemipuimbaronar
tuttalacasa.
FRACASSO
Ol,mimeraviglio:
Dunasorellamia
Nonsiparlacos.
CASSANDRO
Dileinonparlo,
Cioparloditutte,anzi
pretendo
Nonparlardinissuna.
FRACASSO
Chestilspropositato!
Iononvintendo.
CASSANDRO
MintenderMadama,
Conciossiachdilei,
incasamhandetto,
Cheparlaescriveancor
senzaalfabeto.
FRACASSO
Certolatroverete
Unabuonaragazza.
CASSANDRO
Oim...sarunapazza!
Tantomeglio:sbene...
Vodirchemiacognata
Unospiritoaveadaspiritata.
FRACASSO
Dellasorellamia
Nondovetegiavertale
impressione.
CASSANDRO
MafocomeCatone
Ciofuggoirumori.
FRACASSO
Cosatemetevoi?Che
vinnamori?
CASSANDRO
Ioinnamorarmi!Ohsfido
Lucrezia,MarcoAntonio,e
Catilina,
Nhoavuteunadozzina,
Chevoleanmigliorar
questocolosso.
Manonvoglio:nonposso!
Conciossiachhofissato
Verginellomorircomesonnato.
FRACASSO
Nehovedutideglialtri
Chefaceancolledonnei
paladini,
Epoicisoncaduti.
CASSANDRO
Ibabbuini.
FRACASSO
Cicadrete,ioscommetto
Presto,otardivoipure.


CASSANDRO
Uhpoveretto!
FRACASSO
Nonfatetantoilbravo.
CASSANDRO
SonoinquestounOrlando...
Anzi...cio...Conluinon
mibaratto.
FRACASSO
Orlandoperledonne
eraunbelmatto.

10.AriaFRACASSO
Guardaladonnainviso,
Enonlamar,sepuoi;
Conungentilsorriso,
Conquegliocchiettisuoi
Vieni,vidice,vieni,
Sepermepiangi,epeni
Chiothodaconsolar.
Esianopureinfide,
Sianoledonneingrate:
Quandounaguarda,eride,
Vogliateononvogliate,
Bisognaperdonar.
(Parte.)

11.CASSANDRO:
Eh!benben,civedremo,
esuasorella
Metterlavogliointanta
soggezione,
Checredadiparlarcon
Cicerone.
(Parte.)

Scene4Rosina,Ninetta,poiPolidoro.
GabinettonellacasadiCassandro.
12.AriaROSINA
Collabocca,enoncolcore,
Tuttisannoinnamorar.
Machivuolfede,edamore
Damevengaadimparar
Chesipusenzarossore
Gradirtutti,eunsoloamar.

13.NINETTA
Sicchmaveteinteso?
ROSINA
Socosadeggiofare.
NINETTA
Fateliinnamorare
Questiduesciocchi,
egiacchlunneviene.
Cominciatedalui.
ROSINA
Qualviendiloro?
NINETTA
VieneDonPolidoro,
Econluicivuolpoco
Chedisposarlaeitratta
Sevedeconlascuffia
ancheunagatta.
ROSINA
Zitto,cheglientra
adesso.
POLIDORO
(dallaportafacenno
aNinettachecorrealui)
Ehi?

NINETTA
Signore.
POLIDORO
Epermesso?
NINETTA
COSA?
POLIDORO
VederMadama.
ROSINA
(correndoglincontro)
Favorisca,seilbrama,
Complimentinonvo;
semprepadrone,
Eccoabaciarlamano
Eccoldaseder;vogliolonore
Dellamiciziavostra,
equisiviene
Siva,sirestaadesinare,acena,
Perchiononhopretese,
Etrattocogliamicialla
francese.
POLIDORO
(facendocennoaNinetta)
Ehi!
NINETTA
Damechevolete?
POLIDORO
Cosarispondere?
NINETTA
Nonintendete,
Chenonvuolcerimonie,
etuttobuono
Quelchevivieneinbocca?
POLIDORO
Hocapito...Madama
Granbellabitoavete!
ROSINA
Eh,bagatelle
Allusodelpaese.
POLIDORO
Ohcomebelle
Quellescarpineancora!
ROSINA
(Chesciocco!)
POLIDORO
Masignora,
Pidellescarpevostre,
iomidichiaro,
Sietebellavoistessa.
NINETTA
(Ohchesomaro!)
ROSINA
Tuttavostrabont.
POLIDORO
Voimipiacete.
ROSINA
Oh,troppoonor!
POLIDORO
Volete
Prendermipermarito?
ROSINA
Iononsondegna
Dunatantafortuna.
POLIDORO
Ehnonimporta.
Anchiononvoglio
cerimonie,ebasta
Chenonlosappiamio
fratel:delresto
Visposoadessoqui.

95010MozartCompleteEdition
85

ROSINA
Ma...cospresto?
Cosarrivataincasa
vostraappena,
Enelvostropaese?
POLIDORO
Sben,comediceste,
allafrancese.
ROSINA
Allafranceseancora,
Domandaunmatrimonio
ipassisuoi.
Samadaprima,epoi
Qualchevisitaalmeno!
Qualchegentilbiglietto!
Qualchebelregaletto!
Insommaunuomdi
spiritoqualsiete,
Insomigliantiimpegni
Bisognononavr,
chealtrigliinsegni.
POLIDORO
Insegnatemipure,
Malavisitafatta;
Eilregalofarsenzafatica.
Quellochepimintrica
ilbiglietto,ohMadama,
Chascrivermainon
minsegnlamamma.
NINETTA
Ehnonserve,signore;
Sario,sevolete,
Lavostrasegretaria!
POLIDORO
Manolditeanessun.
NINETTA
Nemmenoallaria.
POLIDORO
Coscisposerem.
ROSINA
Tempoecervello!
POLIDORO
Nonbastaunora?
NINETTA
quavostrofratello.
POLIDORO
(vedendoarrivareDon
Cassandro)
Ohpoverettome!
ROSINA
Nondubitate:
Perchnullasospetti,
Iomeneandrfinch
convoiragiona.
POLIDORO
Seconvoimiritrova,
eimibastona.
ROSINA
Siatemivoicostante;
Ch,peresserviamante,
Fincolfratellovostro
Amenonmancheran
milleripieghi
Esemhadaparlar,vo
chemipreghi.
(Parte.)
NINETTA
Granfortunalavostra;
Chimoglietalnonprende,
grossoetondo,


Perchdiquestene
sonpochealmondo.
(Parte.)

Scene5Cassandroedetto.
14.POLIDORO
Oh,laprendodavero.
CASSANDRO
DovlaBaronessa?
POLIDORO
Inqualchesito
Sarsicuramente.
CASSANDRO
Ohscimunito!
Voimifatevergogna;
Enonavestemai
Ilcoraggio,ciola
petulanza,
Diparlarsecolei?
POLIDORO
Lehogiparlato.
CASSANDRO
Ellavavrtrovato
Unstolidorampollo
ssignore,
Dellaprogenienostra
ingenerata
Dimascolinieroi.
POLIDORO
Sinnamorata.
CASSANDRO
Divoi?
POLIDORO
Dime.
CASSANDRO
Sarunascioccaanchella.
POLIDORO
Velamantengo,bella.
CASSANDRO
Bella,masenzaspirito;
Bellasenzaintelletto.
POLIDORO
Haunospirito...
Daspiritofolletto.
CASSANDRO
Nondunquepervoi,
Amarnonpuunstorno
Estatelelontan.
POLIDORO
Lanotte,oilgiorno?
CASSANDRO
Egiorno,enotte,esempre
Secoleinontrescate.
POLIDORO
Farquelchevoifate.
CASSANDRO
Iopossofarchevoglio.
Infranoidue
Cunagrandifferenza.
POLIDORO
Siamoperfratelli,in
conclusione.
CASSANDRO
Masoniouomdi
garbo,evoiminchione.
POLIDORO
Sarperaltrounuomo.
CASSANDRO
Eperquesto?
POLIDORO
Ladonnamipiace.

Edunamoglieho
anchiobisogno.
CASSANDRO
Dafarneche,baggiano?
POLIDORO
Quelcheglialtrinefanno.
CASSANDRO
Voidonne?
Voimogliera?
Ohcheasinaccio!
POLIDORO
Zitto,zitto,chetaccio.
CASSANDRO
Nonloditepimai.
POLIDORO
Farsenzaparlar.
CASSANDRO
Cosafarai?
POLIDORO
Tuttoquelchevolete.
CASSANDRO
Maipiparlardidonne.
POLIDORO
Sisignor.
CASSANDRO
Nonguardarperamore
MaipilaBaronessa...
POLIDORO
Signors.
CASSANDRO
Equandoellaviguarda
Cioquandovipiace
Chiudergliocchi,
fuggir,farledispetto.
POLIDORO
Andracacciarmi
perpaurainletto.

15.Aria
POLIDORO
Cosahamailadonnaindosso
Chemipiacetantotanto?
Selaguardo,inleimincanto:
Selatoccomiforosso;
Echecaldoellamifa!
Ilmalannocheliporti,
Queichesprezzanleconsorti,
Carezzarlacoccolarla,
Unamoglie,poveretta.
Unamoglie,benedetta,
Ancheame,percarit.
(Parte.)

Scene6CassandroeRosina.
16.CASSANDRO
Granduomochesonio,
Pernontemereledonne!
Eccocheviene
LaBaronessa,esfoderar
bisogna
Tuttalamiaeloquenza,
ondeellaveda
Dalmiocerimonial
cerimoniante
Chelospiritosuo
mecospirante.
ROSINA
(ritirandosispaventata)
Chiqua?fratello...aiuto.
CASSANDRO
Cosaaveteveduto?

95010MozartCompleteEdition
86

Cio,dichetemete?
Ungalantuomsonio.
ROSINA
Ungalantuomo?
CASSANDRO
Alportamento,alviso,
Allabitoleggiadro.
Chi,comeequalemi
credeste?
ROSINA
Unladro.
CASSANDRO
Perunaqualvoisiete
Spiritosapulcella,
Questaunadebolezza.
ROSINA
Iospiritosa...
Os,signore,ecome!
CASSANDRO
(Nonmipare;
Malavoesaminare.)
(Faportardellesedie.)
Sediamqui,Baronessa
Ediscorriamlaunpoco.
ROSINA
Sarameglioincucina,
appressoilfuoco.
CASSANDRO
(Chestolida!)Volete
Cheparliamoin
francese?
Intedesco,inturchesco
oinitaliano?
ROSINA
Come,chepivipiace.
CASSANDRO
Inversooinprosa?
ROSINA
Oib,nlunnlaltro.
CASSANDRO
Comeseognun,cheparla,
Ciosemprefavella
ilmondointiero
Oinprosa,oinversi?
ROSINA
Ionolsapeadavero.
CASSANDRO
Madunquechesalei?
ROSINA
Sochetreetrefansei.
CASSANDRO
Poterdelmondo!Siete
Unagrandottoressain
aritmetica.
Enongispoco
Nelletvostra;di
quantianni?
ROSINA
Glianni?
CASSANDRO
S,signoraMadama.
ROSINA
Lasciate,checipensi.
CASSANDRO
Ecos?
ROSINA
Glianniadesso
Sonmillesettecento
Sessantottoinpunto.
CASSANDRO
Ohcheportento!


ROSINA
Chiquestosignore?
CASSANDRO
Nonsapetechesiail
portento,ilprodigio
Datutticonosciuto?
ROSINA
Nonholonordaverlo
maiveduto.
CASSANDRO
(Cheinnocentefanciulla!
Questanonfapaura.)
Manullavoisapete?
ROSINA
Oh,sounpocoditutto.
CASSANDRO
Verbigrazia;
Vogliodir,per
esempio?
ROSINA
Ssignore.
CASSANDRO
Cosasapetevoi?
ROSINA
Farallamore.
CASSANDRO
Lavetefattomai?
ROSINA
Signors.
CASSANDRO
Ealgiornodoggi
Lofate?
ROSINA
Ssignore.
CASSANDRO
Elovorretefar
anchedappoi?
ROSINA
Signors.
CASSANDRO
Maconchi?
ROSINA
Bella!convoi.
CASSANDRO
Conme?
(Maccostounpoco,
Chequestaalcasomio.)
ROSINA
(Poveroallocco!)
CASSANDRO
(Unmusodamuseo,
Unabuonapulcellainnocentina.
Eh,lasciafaranoi.)
Ehi!Madama.
ROSINA
Chevolete?
CASSANDRO
Accostatevi.
ROSINA
(saccostaunpoco)
Cos?
CASSANDRO
(latiravicinoaffatto)
Cosinbuonora.
ROSINA
Sevolete,iovivengo
inbraccioancora.
CASSANDRO
(Senzaltroinnamorata).
Maditeinconfidenza,
Voifacesteallamore

Ancheconmiofratello?
ROSINA
Ssignore.
CASSANDRO
Esposarvivorrebbe?
ROSINA:
Signors.
CASSANDRO
Onde,seiovisposassi,
Rivaleavreilafratellanzaincasa,
Edividendoilcore
Mifarestevoiforse?
ROSINA
Ohs,signore.
CASSANDRO
Poterdelmondo!Iosfido
Tuttalaquintaessenza
feminesca
Adesserpisincera:
Ciopidicostei
scioccaeciarliera.
ROSINA
Ah!
CASSANDRO
Cosaquelsospiro?
ROSINA
Quantopivirimiro,
Voinemmenmiguardate.
CASSANDRO
Anziaforzadocchiate
Viassorboevidivoro.
ROSINA
Unamaninaalmeno.
CASSANDRO
Eccolamano.
(Quantomai
compiacente!
Ecomemiviencaldo!)
ROSINA
Quantosietemaibello!
CASSANDRO
Melhandettodeglialtri.
ROSINA
Oh,questoanello!
CASSANDRO
Micostamillescudi.
ROSINA
Semivolestebene?
CASSANDRO
Oh,sondifuoco.
ROSINA
Meldovrestedonar!
CASSANDRO
(alzandosiinfretta)
Tornotrapoco.
ROSINA
Partitedachivama?
CASSANDRO
Sentolfuorachequalcunmi
chiama.
ROSINA
Lasciatemilanello
Cheinvecevostra
compagniamitenga.
CASSANDRO
Sbene,unaltravolta,
Ciomaipi,
conciossiachsoio...
Lanellohadessermio.
ROSINA
Perchvoinonmiamate.

95010MozartCompleteEdition
87

CASSANDRO
Ohmai...nondubitate;
Ma...
ROSINA
Sietetroppoavaro.
CASSANDRO
Ohmai,menedichiaro;
Ma...
ROSINA
Senonhodavoi
Questamemoriaalmen,
prestomiscordo.
CASSANDRO
Aquestacantilena
oggisonsordo.

17.AriaCASSANDRO
Ellavuoleediovorrei
Convenirenonsipu.
Quandosonvicinoalei
Valeadir:soluscumsola,
Aunocchiata,aunaparola
Miriscaldo,miforosso:
Miparchabbiailfuoco
addosso
Sentoilsangueinognivena,
Cheribolleefablo,blo.
Malamorfiniscepoi
Collaborsaecollanello.
Edilsanguegibelbello
Sirapprese,sigel!
Esoncomeuncanbarbone,
Fralacarneedilbastone:
Vorreistenderlozampino
Ealbastonpimavvicino,
Eabbaiando,mugolando
Piglioilporcoemenevo.
(Parte.)

Scene7Fracasso,Ninettaedetta.
18.FRACASSO
Ehben,sorellamia?
ROSINA
Siamoabuonsegno
Einquestodmimpegno
Dinnamorarlituttiduedelpari
Sinoafarmisposar.
FRACASSO
Basta,chiosposi
Giacintalorsorella.
NINETTA
Echiosuadamigella,
AbbiaSimoneper
maritomio.
ROSINA
Tuttovaben;mavo
maritoanchio.
FRACASSO
Sonospazzientrambi
Chiononsapreiqualsia
pervoimigliore.
NINETTA
Ilpiscioccoilminore:
Attaccatevialui
Chefaretepipresto;
Edunamogliespiritosaebella
Comelhanmolteemolte,
Unmaritohadaver
buonotrevolte.
FRACASSO
No!chequellaltroalmeno


Unuomnondilegno,
emiasorella
Diridurloadovere
bencapace.
ROSINA
Iosposerquelloche
pimipiace.
Maperchpiacciaunuomo,
Eperchamornonsia
dinoitiranno
Cosasidebbafar,
tuttenonsanno.

19.ARIAROSINA
Sentileco,ovetaggiri,
Sussurrartrafioriefronde
Masegridiosesospiri,
Quellosollecorisponde
Chetisentearagionar.
Cosfardovrebbeancora
Cogliamanti,equestaequella:
Volerbeneachiladora,
Corbellarchinecorbella
Nondarnienteachinondona,
Chlusanzabellaebuona
Difarquelcheglialtrifanno
Einamornonpufallar.
(Parte.)

Scene8Polidoro,edetti.
20.POLIDORO
Ninetta.
NINETTA
Chevolete?
POLIDORO
Digliacolui,chevada,
Perchthodaparlar
dasoloasola.
FRACASSO
Dovlaconvenienza?
Quiviallamiapresenza
Nonsiparlainsecreto?
POLIDORO
Andatevia
Chehounnonsochedadirle.
FRACASSO
Amiasorella
Portorispettoadesso,
eallasuastanza:
Manoivinsegneremo
lacreanza.
(Parte.)
NINETTA
Voilaveteirritato.
POLIDORO
Ehnonimporta.
NINETTA
Esevibastonasse?
POLIDORO
Eh,prenderemo
Lebastonateancora
Perquella,chemadora;
epremeadesso
Quelbiglietto,chesai.
NINETTA
Lhopreparato;
Eccolosigillato!
Ditenerezzepieno,
Ebastaritrovarchialeilodia
Perchiononsareibuona.

POLIDORO
Glielodarinpersona.
NINETTA
Ohbravodavero!
Lamodanuovaaffatto;
Malamigliorepoi
Fartuttidasuapostaifattisuoi.

21.AriaNINETTA
Chimivuolbene
Prestomeldica,
Chepercapire
Nonvofatica,
Nintisichire
Percivilt.
Tuttiibiglietti
Iovelidono:
Sonoseccaggini
Sonmelensaggini,
Eallapipresta,
Datestaatesta,
Tuttosifa.
(Parte.)

Scene9Polidoro,poiRosina,Ninetta,Fracasso,
poiCassandro,GiacintaeSimone.
22.POLIDORO
Adessofattotutto,
Questoilbiglietto,che
damepretende
Linnamoratamia,
Ancheilregalopronto,
Ondefaccioilmioconto,
Chenissunmelatoglie,
Esaremocosmaritoemoglie.
Eccochevieneappunto.
Allegramente
Chesoloquimitrova;
Eseancorquivenisse
miofratello,
Insuapresenzaaver
dovrcervello

23.Finale
ROSINA
Doveavetelacreanza?
Miofratelloelamiastanza
Sempreshadarispettar.
FRACASSO
Cospettaccio,cospettone!
Vodavoisoddisfazione,
Ovifacciobastonar.
POLIDORO
Nonsoniente,poveretto.
Ncagionquestobiglietto,
Chioleaveadapresentar.
FRACASSO
Unbigliettoamiasorella?
NINETTA
Lafacesteorapibella.
ROSINAeFRACASSO
Nonprendiamvostri
biglietti,
Nonsappiamdivoichefar.
POLIDORO
Melavetevoirichiesto.
ROSINAeFRACASSO
Pernoiduecheaffronto
questo!
POLIDORO
AhNinetta,chepaura!

95010MozartCompleteEdition
88

NINETTA
(lofainginocchiare)
Inginocchioadirittura
Epregarliaperdonar.
FRACASSO
Nonperdonoperspoco.
NINETTA
Loscrissiio,cos
pergiuoco.
ROSINAeFRACASSO
Compatiamladebolezza,
Eperfargliunafinezza
Shailbigliettodaaccettar.
CASSANDRO
Bravo,fratello!
Brava,Madama!
Cosinginocchio
Cosasifa?
POLIDORO
Orastofresco!
(aFracasso)
CaroTedesco,
Voidifendetemi
percarit.
CASSANDRO
Anchebiglietti,
MiaSignorina,
Quelmamalucco
Scrivervisa?
ROSINA
Oib,signore,
Questobiglietto
Pienodamore
pervoiscritto
Inverit!
CASSANDRO
Scrittolavete
Perme,carina?
NINETTA
Bravadavvero!
FRACASSO
Poveroallocco!
CASSANDRO
Leggiamounpoco:
Dateloqua.
(Prendeilbiglietto,
esiritiraaleggerlo.)
POLIDORO
(aRosina)
Finchilfratel
nonguarda,
Prendeteilregaletto,
Chevoimavetedetto,
Perfarmipoisposar.
(Leporgeunaborsa.)
ROSINA
(prendecondispetto)
Amesidandanari?
NINETTA
Chediavolofaceste?
ROSINAeFRACASSO
Perbacco!inostripari
Nonlhandasopportar.
CASSANDRO
Chefassiinquelcantone?
Fratellomiobuffone,
Aleinontaccostar.
ROSINA
PoveroPolidoro!
Chequestaborsadoro
Mid,seilvoglioamar.


CASSANDRO
Chepezzodasinaccio!
Diquesteionon
nefaccio,
Nsonoconledonne
Sifacileacascar.
ROSINA
(aCassandro)
Semivoletebene
Questorovoiserbate,
Equellanelmidate
Perfarlodisperar.
CASSANDRO
Lanel?
ROSINA
Perunpochetto.
CASSANDRO
Lanel?
ROSINA
Velrendosubito.
CASSANDRO
Davero,chenedubito;
Maingraziadelbiglietto
Checontalgustoholetto
Vivogliocontentar.
(Ledlanello.)
SIMONE
Presto,Madama,
Cheunovichiama,
Evivorrebbe
Complimentar.
(Parte.)
ROSINA
(volendopartire)
Subito...addio.
CASSANDRO
(latrattiene)
Lanellomio!
FRACASSO
Corpodeldiavolo!
Nonvuolmangiarvelo.
NINETTA
Nonvuolscappar.
SIMONE
Presto,signora!
Checdifuora
Chividesidera
Secoapranzar.
ROSINA
(comesopra)
Andiam,fratello!
CASSANDRO
(comesopra)
Primailmioanello!
FRACASSOeROSINA
Poterdelmondo!
Deparinostri
Shadafidar.
CASSANDRO
Senzacheandiate
Conchivibrama,
Fate,cheresti
Quelchevichiama,
Chiodaratutti
Dadesinar.
GIACINTAeNINETTA
Bravo,bravissimo!
FRACASSO
Cosvafatto.
POLIDOROeSIMONE
Questcervello!

CASSANDRO
Coslanello
Nonsparir!
TUTTI
Dunqueapranzo
incompagnia,
Etrailvinoelallegria
Chesiballi,echesicanti,
Tuttiamici,tuttiamanti.
Vivaamoreelabelt!

Act2(CD131)
Scene1NinettaeSimone.Loggianellacasadi
Cassandro.
1.NINETTA
Sonoipadronimiei
Apranzoancor,nsi
alzeranspresto.
SIMONE
Undisordinequesto.
NINETTA
Perch,Simonemio?
SIMONE
Perchmisentouna
granfameanchio.
NINETTA
Daquiunamezzaoretta
Pranzeremonoipure;
egodiintanto,
Sedelmioamortipreme,
Chestarpossiam
liberamenteinsieme.
SIMONE
Lamorebelloebuono!
Maperfarallamor
semprectempo.
Esenzamoltoesame,
Pisanodimangiar,
quandoshafame.
NINETTA
Seibenpocogalante.
SIMONE
Machevuoidunamante?
NINETTA
Voglio,cheperstarmeco,
Sindimangiarsiscordi,
Dibereedidormir,
senzafatica.
SIMONE
Questoamareallantica,
Evogliamnoisoldati
Solbocconirubati.
NINETTA
Onde?
SIMONE
Sevuoi
Amordame,chiamami
apranzo,ecena,
Cheamandoapanciapiena
Tuttovabeneilresto,
Etranoiduecintenderem
pipresto.
NINETTA
Permedunquenonsei.
SIMONE
Perch?
NINETTA
Perchiovorrei
Unmaritocapace
Dalasciarsitrattar
comemipiace.

95010MozartCompleteEdition
89

2.AriaNINETTA
Unmarito,donnecare,
Cibisognaritrovare,
Chenonmangi,che
nonbeva,
Chedanoituttoriceva,
Cheanoilascicomandar.
Secosnonsiritrova,
nsipufarnedimeno,
Farconessounpattoalmeno
Cheglimangiquandohafame,
Cheglibevaquandohasete,
Manelascisoleechete
Farnoipurquelchenepar.
(Parte.)

Scene2SimoneeGiacinta.
3.SIMONE
Eh,quandosia
miasposa,
Laridurrcon
unbastone.
GIACINTA
Percarit,Simone!
SIMONE
Chec,signoramia?
GIACINTA
Senonhaitugiudizio,
Quinasceunprecipizio.
SIMONE
Perch?
GIACINTA
Iltuocapitano
Eilmaggiorfratelmio,
caldidalvino,
Sonvenutiaparole.
SIMONE
Oh,pocomale.
GIACINTA
Maluntroppobestiale,
Laltro,mezzoubriaco,
Nonsachedica,edi
parlarnonresta.
SIMONE
Lasciate,chesirompanolatesta.
GIACINTA
Epoi:senonfanpace,
Nandrdimezzoiosola.
SIMONE
Bastaapacificarliunaparola.
GIACINTA
Maintantoiltuopadrone
Vuolesoddisfazione.
SIMONE
Ecivuoltanto?
GIACINTA
Sitrattaalfinedellavita.
SIMONE
Ebbene?
GIACINTA
Nongimiofratello
uomodiguerra.
SIMONE
Unpoltronedimen
sopralaterra.
GIACINTA
Ah,pregailcapitano,
Pregaloinnomemio,
giacchnonposso
Inpersonapregarlo.


SIMONE
Laiuterpiuttosto
abastonarlo.

4.AriaSIMONE
Concertepersone
Vuolesserebastone:
Esiabenedetta
Labellaricetta,
Chetutteledonne
Dovrianadoprar.
Bastone,Madama,
Conchinonviama,
Conchifailgeloso,
Conchinonvuol
spendere,
Edosapretendere
Difarvicascar.
(Parte.)

Scene3GiacintaePolidoro.
5.GIACINTA
Nonmimaritopi,
sealcapitano
Colmiomaggiorfratello
Ogginasceunduello...
Eccoilminore:
Raccomandiamcialui.
POLIDORO
Quantoromore!
GIACINTA
Perch?
POLIDORO
Perquellanello.
GIACINTA
Dovresteunopibello
DarneallaBaronessa,
ondeellarenda
Alfratelnostroilsuo;
npisigridi,
Npidunuomoonesto
Lapazienzasiirriti.
POLIDORO
Altrochequesto!
Levodonardimeglio.
GIACINTA
Cosaledonerete?
POLIDORO
Nondico;childirete
Atuttapoilacasa.
GIACINTA
Oh,viprometto
Cheincasanolsapranno.
POLIDORO
Vodonarleunbel
maschioincapoallanno.
GIACINTA
Unmaschio?oh,chesproposito!
POLIDORO
Eh!voisietefanciulla
Enonsapetenulla.
GIACINTA
Soforseilmiobisogno...
Mavoisposar?...
POLIDORO
LaBaronessa.
GIACINTA
Insogno.
POLIDORO
Vedretebentrapoco.
GIACINTA

NonvorrDonCassandro.
POLIDORO
Bastabene
Chiovoglia,evoglia
anchella.
GIACINTA
Esevicacciavia?
POLIDORO
Anderemoadormir
sullosteria.
GIACINTA
Faresteameraviglia;
Manonfaretenulla,
PerchlaBaronessa
Nondonnapervoi.
POLIDORO
Nholapromessa.
GIACINTA
Disposarvi?
POLIDORO
Sicuro.
GIACINTA
Quandocos,dovreste
Lasciarchiosposiil
capitanoancora,
Chenhabuonaintenzione.
POLIDORO
Iovilasciosposare
ancheSimone.
GIACINTA
Eseilfratelnonvuole,
Atuttilasuaparte,
Chsiamtuttipadroni.
POLIDORO
Taglieremolacasa
induebocconi.
GIACINTA
EandremoinUngheria.
POLIDORO
Maunmaschiotutte
duefareteinpria.
GIACINTA
Eperchaspettartanto?
POLIDORO
Oh!perchveda
Nostrofratel,che
sempremistrapazza,
Chepidiluisonio
buonodirazza.
GIACINTA
Hointeso.Matutto
Stachealleparole
Corrispondanoifatti.
Sebbensonusia
indovinareimatti.

6.ARIAGIACINTA
Seamaritarmiarrivo,
Sobenchevogliofar
Losposoadirittura
Legatoallacintura
Iomelovoportar.
Chemistiasempreappresso,
Chemicarezzianchesso
Cheimpariancheafilar:
Echemimostraadito,
Chisontuttamarito,
Purchnonmelorubi,
Lolasciercantar.
(Parte.)

95010MozartCompleteEdition
90

Scene4PolidoroeNinetta.
7.POLIDORO
Quandoavrmoglieanchio
Esservotuttomoglie,
enotte,egiorno:
Nonvonissunointorno.
Eperchnonlarubi
ognun,chepassa,
Laterrsottochiave
entrounacassa.
NINETTA
Signor,laBaronessa
Vicercaconpremura.
POLIDORO
Vorrforsesposarmiadirittura.
NINETTA
Darviellavuolpiuttosto
Lultimoaddioprimacheparta.
POLIDORO
EdoveVuolandarella?
NINETTA
Adalloggiarealtrove.
POLIDORO
Perch?
NINETTA
Vostrofratello
Cheavoiparlinonvuole.
POLIDORO
Deifattinoifarem,
picheparole.
NINETTA
Peresempio?
POLIDORO
Vienmeco
Chelandiamoatrovar;
matuminsegna,
Perchsonnuovoaffatto,
Eunmatrimonionon
lhomaipifatto.
(Partono.)

Scene5Rosina,poiPolidoroeNinetta.Salacon
sedieelumi,essendonotte.
8.AriaROSINA
Amoretti,cheascosiquisiete,
Evolandodintornoferite.
Ah,viprego,damenonvenite:
Questocornonveniteapiagar.

9.POLIDORO
Madama,fattotutto:
Lavisita,ilbiglietto.
Lamor;eilregaletto:
Ondepossiamsposarciinverit:
Einsegnatemivoicomesifa.
ROSINA
Oh,civuolaltro,amico.
Perunmaritomio
chhodasposare.
POLIDORO
Ecosacivuolmai?
ROSINA
Lovoprovare.
POLIDORO
Inqualmaniera?
ROSINA
Intutte
Lequalitpibelleallafrancese.
POLIDORO
Questamarrivanuova;
Maprovatemipur.


ROSINA
Bene,allaprova.
Cantatemiunarietta,
Ofrancese,otoscana.
POLIDORO
Unaria?dasciroccoo
tramontana?
ROSINA
Fatemiunmenuetto.
POLIDORO
Oh,nonmenediletto.
ROSINA
Nonsapetefarnulla?
NINETTA
Efateilcicisbeo?
ROSINA
Vediamsealmen
sapeteilgalateo.
POLIDORO
(inattodipartire)
Questaprova
mimbroglia.
ROSINA
Nonsiparte
Senzalicenzamia.
POLIDORO
(siede)
Siedoquidunque,
Enonmimuovopi.
NINETTA
Mainonsisiede,
QuandolaDama
inpiede.
POLIDORO
Oramilevo.
Edirloanchiovolevo.
ROSINA
Andatealdiavolo
Chesieteunvillanaccio.
NINETTA
Presto,daunaltrabanda.
POLIDORO
Perch?
NINETTA
Sideveandarquando
vimanda.
ROSINA
Oh!quantagentearriva
Percorteggiarmiadesso:
Elei,signormarito,si
compiaccia...
POLIDORO
Ioglivadoaserrar
laportainfaccia.
ROSINA
Vovederquestaancora.
POLIDORO
Ma,chehodafar,signora?
NINETTA
(glimetteuncandeliero
inmano)
Eccoviilcandeliero
Ecinquepassi,osei.
Sicorreincontroachi
neviendalei.
(Parte.)
POLIDORO
Vadosubitamente;
Ohim!primochearriva
appuntomiofratello.

ROSINA
(Iocangiostile,eabbiate
voicervello.)

Scene6Cassandro,edetti.
10.AriaCASSANDRO
(camminandoemasticandole
paroledamezzoubriaco)
Ubriacononsonio:
Sonoallegro
unpochettino,
Malanellosempremio,
Elopossodimandar.
Perchalfin,separlailvino,
Quelchmiosilasciastar.

11.ROSINA
(Lhacollanelloancora
Maglielavofarbella.)
CASSANDRO
Ehben,signora?
Maconquelcandeliero
Chefaquelmarcantonio?
POLIDORO
Folumealmatrimonio.
CASSANDRO
Iovhopurdetto,
Chedaleinonsiviene.
ROSINA
Eglivenuto
Solperparlarconvoi.
CASSANDRO
Ignorante,chevuoi?
POLIDORO
Dirvipersuocomando...
Chesono...
CASSANDRO
Unanimale.
POLIDORO
No..sono...
CASSANDRO
Uncarnovale,
Dallaprosapiamia
degenerante.
POLIDORO
Oh!meneditetante
Chenonvopi
soffrirle.
evoimidate
Prestolapartemia,
Chevoandarcon
MadamainUngheria.
CASSANDRO
Ame?poterdiBacco!
Vedocheseibriaco...
Cio,vaviadiqua,
chetiperdono;
Maselotorniadire,ioti
bastono.
POLIDORO
Baronessamiasposa,
Difendetemivoi.
CASSANDRO
Sposa?
ROSINA
Sbene!
CASSANDRO
Manonsonio?
ROSINA
Anchevoi.

95010MozartCompleteEdition
91

CASSANDRO
Quantimariti
Voletevoidanuovo?
ROSINA
Nevo,pernonfallar,
quantinetrovo.
CASSANDRO
Uh,stolidachesiete!
ROSINA
(simetteapiangere
inuncantone)
Iostolida!...guardate...
Chepianger...voimifate..
Eaqualcunforsepoi
lapagherete,
Chemelalegoaldito.
POLIDORO
Selafarpagarvostromarito.
(ARosina)

12.AriaPOLIDORO
Sposacara,sposabella,
Perpiet,dehnonpiangete
(aCassandro)
Esevoibevutoavete
Poveretto,andateinletto,
Nlastateamolestar.
(Cassandrovenendogli
addossobruttamente.)
Piano,piano,chioburlavo;
Stateinl,chevisonschiavo.
Quantoame,tutto
vlecito:
Bastonatemi,accoppatemi,
Mamiamoglie,nosignore,
Nonlavetedatoccar.
(Parte.)

Scene7CassandroeRosina.
13.CASSANDRO
(Lhofattagrossaassai,
Sedamesidividemiofratello;
Ese,oltredellanello,
Perdolasposaancora.
Eh,nonimporta!
Tuttoaccordarsipu
conlamiatesta:
Ecominciamdacapo.)
(Accostandosialei)
MiasignoraMadama...
ROSINA
(volgendosidaunaltraparte)
Chidil,che
michiama?
CASSANDRO
Sonio,daquestaparte.
ROSINA
Eh!viscostate.
Chedavinopuzzate.
CASSANDRO
Hopoibevuto
Sette,ottovoltesole...
Evodir,cheubriaco
essernonposso.
ROSINA
Fateviinl,che
micadeteaddosso.
CASSANDRO
(prendeunasedia)
Sediam,chesarmeglio.


ROSINA
Siben,mainlontananza.
CASSANDRO
(mettendolainmezzo)
Quanto?cos?
ROSINA
Quantolargalastanza.
CASSANDRO
(sedendosullangolo
dellascena)
Quinonvisentoappena;
Eanchiogridardovr
daspiritato.
ROSINA
Pidavicinmifarmale
ilfiato.
CASSANDRO
Dunque,comefarem?
ROSINA
Fateunacosa:
Accostateviunpoco,
Esenzaaprirlabocca,
Sevoleteparlar,mecoparlate
Coicennisolamente,
Chiobenvintender.
CASSANDRO
(siaccostaconlasedia)
Subitamente.
Mabadatemibene,
Cheunpantomimo
sonmoltostupendo.
ROSINA
Senzaparlarfinle
gallineintendo.
CASSANDRO
(congestidapantomimole
domandaseloama...)
ROSINA
(Menevoprenderspasso).
(...epoirispondecon
cenniacapriccio,
chenonsignificano
niente...)
CASSANDRO
(Chediavolovuoldire?
Ciononsocapire.)
(...epoiledomanda
cocenni
sevuolesseresuamoglie...)
ROSINA
Moglies,mapadrona,
(...epoiconmolticenni
strambi,acapriccio...)
CASSANDRO
(Nonnecapiscounacca,
emifasonnoquesta
conversazione.)
(...facendodecenni
apiacimentosuo,
sivaaddormentando...)
ROSINA
(Eisaddormenta,
E,senzachemisenta,
Lanellosuorimettergliindito,
Elfarcomparireun
scimunito).
(...Pianpianoglisiaccosta,
eglimetteinditolanello.)
Ehi...
(loscuote)
Dormite,signore?

questoilvostroamore?
CASSANDRO
Oh,misognavoappunto
dellanello.
ROSINA
Diqualanel?
CASSANDRO
Diquelchevhoprestato.
ROSINA
Ame?
CASSANDRO
Perduemomenti.
ROSINA
Quando?
CASSANDRO
Questamattina.
ROSINA
Dove?
CASSANDRO
Cheinnocentina!
ROSINA
Unanello?diche?
CASSANDRO
Dunsoprafino
Brillanteamericano.
ROSINA
Eh,parlailvino.
CASSANDRO
Mailvinodiceilvero.
ROSINA
Dormiteunaltropoco,
Cheneavetebisogno,
Eilvostroanello
trovereteinsogno.
CASSANDRO
Nonmimportatrovarlo
Cio,sochelavete;
Esemisposerete,iove
lodono.
ROSINA
Unastolidaiosono.
CASSANDRO
Eh!lhodettoperdir!
ROSINA
Sonounaladra
Chevirublanello.
CASSANDRO
Nonparliamodiquello.
ROSINA
Edicosaparlar?
CASSANDRO
Ditemialmeno
Seamatepimestesso
Chehospiritoehotalento,
edhodenari
Omiofratello?
ROSINA
Tuttiduedelpari.

14.AriaROSINA
Hosentitoadirdatutte
Lepibelleelepibrutte,
Cheuncorgrandetantofatto
Dunamanteadognipatto
Nonsidevecontentar.
Quandosonocinqueosei,
Checifannoicicisbei,
Sevaunolaltroviene,
Sunvuolmal,laltrovuolbene;
Seunocrudo,laltrocotto,
Efratantiilpimerlotto

95010MozartCompleteEdition
92

Semprealfinehadacascar.
(Parte.)

Scene8CassandroeFracasso.
15.CASSANDRO
ScioccalaBaronessa,
Enondastupirchami
unosciocco
Qualilfratellomio.
Stanbeneinsieme,
Manonlivoglioinsieme
accompagnati,
Epriadiquelbaggiano
Iotuttoaccordercolcapitano.
FRACASSO
Divoicercavoappunto.
CASSANDRO
Atemposietegiunto.
FRACASSO
Perch?
CASSANDRO
Sentiteunpoco.
Iosonodisposto
Diregalarpiuttosto
Allasorellavostraquellanello...
FRACASSO
Unaffrontonovello!
Corpodisatanasso,
Andateneadormire,
Seavetevoibevuto!
CASSANDRO
Malanellolhaavuto.
FRACASSO
Cheanello,ubriacone?
Comevelharapito,
Sevoilaveteindito?
CASSANDRO
(guardasiinditoelovede)
Indito?ohbella!
Come,cio,sbene:
ondetornato
Dachilavearubato?
FRACASSO
Rubatomiasorella?
Esidiceaunparmio?
Manoallaspada,
Chequinevosoddisfazion
sulfatto.
CASSANDRO
Percospocoduellar?
chematto!
FRACASSO
Mattoame?mattoame!
Poterdelmondo,
Nonbastapilaspada,
eperchsia,
Picrudellavendetta,
epifunesta:
Unapistolaquesta,
Emoraundinoidue,
chiovidisfido!
CASSANDRO
Spadaepistolaper
morire!Iorido.
FRACASSO
(facendosiavanticonfierezza)
Iovifartremar.
CASSANDRO
Pianountantino;
Cionontantafuria.


FRACASSO
Menociarle,escegliete
Laspadaolapistola,in
conclusione.
CASSANDRO
(Orormisfidaa
colpidicannone.)
FRACASSO
Lafiniamo,ovammazzo!
CASSANDRO
Morircosperpassatempo!
unpazzo.
FRACASSO
Voisieteun
belpoltrone.
CASSANDRO
Io?houncordaleone,
Datigre,daelefante...
Evoiveniteavante,
Chelavedrem.
FRACASSO
Vengo,enonfodagiuoco
(mettemanoallaspada)
Difendetevipure!
CASSANDRO
Apianounpoco.
(Sipongonoalledue
estremitdellascena.)
Dilnonvimovete,
Chiodiquanon
mimuovo,
Ecominciamo!
FRACASSO
Allarmi.
CASSANDRO
No!prendiamo
Primadabuoniamici
Duepreseditabacco.
FRACASSO
Poltronaccio!perBacco,
Tammazzoin
unmomento.
CASSANDRO
Aspettate,chiovengo
alcimento.

16.Duetto
CASSANDRO
Cospetton,cospettonaccio!
Micredeteunpoltronaccio?
Fuorilama.
CASSANDROeFRACASSO
Eccomiqua!
CASSANDRO
(Fremo,ohim,dallapaura,
Eiminfilaaddirittura.)
FRACASSO
Achepensa?
CASSANDRO
Aspettiunpo;
Leihamoglie?
FRACASSO
No,signor.
CASSANDRO
Figli?
FRACASSO
No!
CASSANDRO
Fratelli?
FRACASSO
No!

CASSANDRO
Haparenti?
FRACASSO
Inquantit.
CASSANDRO
Padronmio,quandocos,
Leiraffreniilsuofurore,
Nonvobattermi.
FRACASSO
Perch?
CASSANDRO
Lacoscienzanonconsiglia,
Cheunapoverafamiglia
Restiapiangereperme!
FRACASSO
Scusemagre!
Eh,sidifenda,
Questaalcor,questaallatesta.
CASSANDRO
(Oh,chefuria!oh,
chetempesta!)
Pianounpo,sifermi,
attenda,
Disugualelabattaglia,
Vedailsol,chemabbarbaglia;
Lhonegliocchi,eil
ventoinfaccia.
FRACASSO
Cambiamposto.loqua,leil!
CASSANDRO
Ma,laspadaellhapilunga,
Guardiunpo.
FRACASSO
Leiselaprenda.
CASSANDRO
(Cheterribilefaccenda!
Nonvmododiscappar).
FRACASSO
Cosafa?
CASSANDRO
(guardandonellascena)
No,nontirate!
Colloschioppo?ohtradimento!
FRACASSO
Dove?come?
CASSANDRO
L,guardate!
(Ormarrivi,sepotr).

Scene9Rosinaedetti.
18.ROSINA
Doveandate,signore?
CASSANDRO
Voaisfogaraltrove
Ilguerrieromiocaldo,
eviringrazi
Costuidelvostroarrivo,
Cheallemiemanlhatolto,
Altrimentisaramorto,
esepolto.
(Parte.)

Scene10RosinaeFracasso.
ROSINA
Siamquasiinportoadesso.
FRACASSO
Quelciarlonehadi
metantapaura,
Chiosposoaddirittura
Suasorella,Giacinta
Elasciopoi,chedica.

95010MozartCompleteEdition
93

ROSINA
Ancheimisposer,
senzafatica.
Maingelosirloduopo
Dellaltrofratelsuo,
DonPolidoro.
FRACASSO
Sben!spargerfraloro
Discordieegelosie,
cheluno,elaltro
Pervoituttunlostimo.
ROSINA
No:pimipiaceilprimo,
Egidamarloiosento.
(Parte.)
FRACASSO
Laltrosipusposarper
complimento.

Scene11Ninetta,Simoneedetto.
FRACASSO
Vieniatempo,Simone.
SIMONE
Chevuoleilmiopadrone?
FRACASSO
Uncolpodasoldato.
Haitucoraggio
Dirapirnottetempo
Ediconduraltrove
Linnamoratamia?
SIMONE
Lameno,sevolete,
inTartaria.
NINETTA
Pianounpoco,signori,
Chesservideggioanchio:n
solaioresto.
SIMONE
Vienituancor,cos
farempipresto.
NINETTA
Soddisfarlosonbuona;
Mano,lamiapadrona,
Chedefratellisuoi
troppopaventa,
Nonvorrmaifuggir.
FRACASSO
Dilleinmionome,
Chefuggatecoanchella,
Chetecovenga,ove
Simonviguidi,
Echedimesifidi.
NINETTA
Oh,ciscommetto,
Chenonfaremonulla.
FRACASSO
Ama,ononama?
NINETTA
Vadora,velogiuro.
FRACASSO
Quandocos,sono
dileisicuro.

19.AriaFRACASSO
Invoi,belle,leggiadria
Setalorpregarvifate;
Ilnegarecortesia
Senegandovoidonate;
Equandamaunafanciulla,
Nonvolendomaifarnulla,
Peramortuttopoifa.


Fanciulletteritrosette,
Seperfarvianoipicare.
Voivifateassaipregare,
Fatebeneinverit.
(Parte.)

Scene12NinettaeSimone.
20.NINETTA
Comeander,Simone,
Questafaccendaadesso?
SIMONE
Hodapensarciiostesso;
Etufrattantoavvisa
lapadrona,
Chealprimocennotuo
prontasitenga.
NINETTA
Valletuadir,chevenga
Aparlartecoentroil
giardino.
EpoiCintenderemtranoi,
Cheperlacasaadesso
Ctroppagenteingiro.
SIMONE
Anziqualcunoarriva,
emiritiro.
(Parte.)
SCENATREDICESIMA
Cassandro,Polidoro,
Ninetta,Rosina,
Fracasso,Simone
collordinechesono
nominati.

21.Finale
CASSANDRO
(correndoconun
bastoneallamano
dietroaPolidorochefugge)
Tho,detto,buffone,
Separliconlei,
Cheaddosso
unbastone
Tivoscavezzar.
POLIDORO
Aiuto,soccorso!
NINETTA
Checane!cheorso!
POLIDOROeNINETTA
Framoglieemarito
Checolpaaparlar?
CASSANDRO
Tuamoglie,baggiano?
POLIDORO
S,bene,lavoglio.
CASSANDRO
(minacciandolo)
Ol,menoorgoglio.
NINETTA
(tenendolo)
Lasciatelostar.
POLIDORO
Maccoppi,mammazzi,
Mavo^lamiaparte.
CASSANDRO
Lapartedeipazzi
Farlilegar.
POLIDORO
Quasubitoilmio.
CASSANDRO
Ilprimosonio.

POLIDORO
Giustizia,giustizia.
NINETTA
Chequestorubar.
ROSINA
Chesussurro,chebordello!
POLIDORO
Mibastonamiofratello.
CASSANDRO
Costuivuolfarsiaccoppar.
ROSINA
Miomarito!miocognato!
Gelo,tremo,perdo...ilfiato.
Daseder,chemivienmale:
Compassioneecarit.
(Siedesvenutadallapaura.)
CASSANDRO
Tantoamateunanimale?
NINETTA
Acquafresca,miosignore.
POLIDORO
Megliolacquadimelissa.
CASSANDRO
Eh,nonserveacqua
dodore,
Chiosonbellocome
unfiore;
Pressoamerinvenir.
POLIDOROeNINETTA
Allalargadamadama.
ROSINA
(rinvenendo)
Sposobello,chimichiama?
CASSANDRO
Sonio,cara.
POLIDORO
No,sonio.
ROSINA
(dopoaverliguardati
constuporevuolparlare)
Buonanotteatutti,addio.
POLIDORO
Oh,fermate!Ah
trattenetemi,
Chenonsoquelchefar.
ROSINA
(inattodipartire)
Bastonatevi,ammazzatevi
Cheaguarirviiotorner.
FRACASSO
Alto,Madama.
Doveneandate?
Dachiscappare
Fuoridiqua?
ROSINA
Corroasalvarmi.
Daquestipazzi,
Priachesiammazzino
Peramorosarivalit.
FRACASSO
Altrocheamore
Perquestiavari!
Lalorsorella
Coilordenari
Viaseneand.
POLIDOROeCASSANDRO
Nostrasorella!
Coisoldimiei!
NINETTA
Orlafobella,
Edietroalei

95010MozartCompleteEdition
94

Anchiomenvo.
(Parte.)
POLIDORO
Scioccofratello
Faadessoilbello.
CASSANDRO
Fratelloallocco
Sposatiunpoco.
POLIDOROeCASSANDRO
Senzadenari,
Senzasorella,
Senzaunasposa,
Casafar?
FRACASSO
Datelainmoglie
Achilatrova,
Chio,caschiilmondo,
Latrover.
POLIDOROeCASSANDRO
Benvolentieri.
Prestocorrete,
Eindoteavrete
Quelcherub.
SIMONE
(entra)
Mieisignori,ohche
grancaso!
EfuggitaancheNinetta;
Erubatohalafurbetta
Quantoavoipotearubar!
POLIDOROeCASSANDRO
Grandisgrazieinun
momento!
Noimeschiniedisperati!
Voichesieteduesoldati,
Voiciaveteadaiutar.
ROSINA
Maritarlacameriera
Acoluichelaritrova,
Evidolabellanuova,
CheSimonlatrover.
CASSANDRO
Quantavogliadimarito
Hannomaituttecostoro!
POLIDORO
Anchiolhomegliodiloro,
Emiamogliequestaqua.
FRACASSOeCASSANDRO
Tuttiinsiemetroppopresto:
Rimediarinprimaalresto,
Chellapoidecider.
ROSINA
Nelmiocorhogideciso,
Mailmiocornessunlosa.
FRACASSOeCASSANDRO
Quelchearrivaallimprovviso,
Pipiacernelmondod.
TUTTI
Vengaprestissimo,
Vengaquelgiorno,
Chetuttointorno
Giubiler.
Queldlietissimo,
Chesposiespose
Digiglierose
AmoreeVenere
Coroner.


Act3(CD132)
Scene1SimoneeNinetta.Stradadicampagna.
1.AriaSIMONE
Vieni,vieni,ohmiaNinetta,
Chehogranfrettadisposar.
Lhangiurato,lhanpromesso,
Sonsoldato,enonadesso
Troppoiltempoditremar.

2.NINETTA
Iononhogranpaura;
Maperregolamia
sapervorrei
Chevhanpromesso
alfin.
SIMONE
Cheambesareste
Sposedichivitrova,
Eacasalorviriconduca.
NINETTA
Andiamo
Quandcos.Iopoi
diquescimuniti
Nonsonmicalaschiava,
eamiotalento
Possodimedisporre;
Eseunodiloro
Omisgrida,omitocca,
Dir...dir,quelchemi
vieneinbocca.

3.AriaNINETTA
Sonoinamore,
Vogliomarito,
Sefosseilprimo
Chepasser:
Guaichimistuzzica
Omimaltratta:
Glisaltoagliocchi
Comeunagatta
Elunghieadopero
Contantosdegno
Cheforseilsegno
Glirester.
(NinettaeSimonepartono.)

Scene2GiacintaeFracasso.
4.AriaGIACINTA
Chescompiglio,cheflagello,
Semivedemiofratello
Ahmiscannaaddirittura,
No,permenonvpiet.
Tremotuttadipaura,
Nonmireggo,nonhofiato,
Sentoilsanguechgelato,
Sentolalmachesenva.

5.FRACASSO
Chesmorfie,chepaura!
ornontempo
Dicelarsiofuggir.
Colvostrosposo
Acasaritornate.
GIACINTA
Mitremanolegambe.
FRACASSO
Eh,nontemete!
GIACINTA
Iononhoilsuocoraggio.
FRACASSO
Avetelamormio,che

vidifende.
GIACINTA
Masemoglienonprende
Ilmiomaggiorfratello,
Nonvorrmaiche
vostrasposaiosia.
FRACASSO
Perchvolernoldeve?
Quandoamelhapromesso,
Quandosposieglistesso
LaBaronessamiasorella?
GIACINTA
Oh,questo
Sfacilenolcredo,
PerchDonPolidoro
Hadisposarlaanchei
lesuepretese,
Etralelorcontese,io
sonsicura,
Chedimezzoneandr.
FRACASSO
Cheseccatura!
Sianpursciocchi,ebestiali
Duefratellirivali,
Chemiasorellailgran
secretohainmano
Dimetterlidaccordo.
GIACINTA
Equale?
FRACASSO
Andate
Adomandarloalei,
chiodelledonne
Tuttinonsoirigiri,
esolmnoto,
Cheognifemminaaccorta,
Piucchconlabellezza,
Collartesuainnamora,
Esaobbligarcosuoi
rifiutiancora.

6.AriaFRACASSO
Nelleguerredamore
Nonvalsempreilvalore:
Qualchegelosoaffanno,
Qualcheinnocente
inganno
Pigiovaatrionfar.
Chistancaedaffatica
Labellasuanemica,
Senzachemailassaglia,
Sulcampodibattaglia
Larrivaaimprigionar.
(Partono.)

Scene3CassandroeRosina.
7.CASSANDRO
Ecos,Baronessa?
ROSINA
Umilissimaserva.
CASSANDRO
Elapromessa?
ROSINA
Chepromessa,signore?
CASSANDRO
Nonvenericordate?
ROSINA
Oh!stomaleamemoria!
CASSANDRO
Eh!gilovedo
Mamiasorella,eseco

95010MozartCompleteEdition
95

leiNinetta
Chhannoavuto
ilcoraggio
Discapparvia...
ROSINA
Scapparvia?Buonviaggio!
CASSANDRO
Nonpromettestevoi,
Chesaranritornate?
ROSINA
Oh!quand,chetornaro,
esonsposate!
CASSANDRO
Sposate?
ROSINA
Ssignore.
CASSANDRO
Dachi?
ROSINA
Dachitrovolle.
CASSANDRO
Sarilfratellovostro,
ESimoneconlui,
senonminganno.
ROSINA
Dimandateloalor,
chelosapranno.
CASSANDRO
Sieteunascioccarella.
ROSINA
Maperaltrosonbella.
CASSANDRO
Oh,senonfostetale,
Lamormatrimoniale
Nonviunirebbeame,
comedeso.
ROSINA
Tuttopoista,che
cosvogliaanchio.
CASSANDRO
Nondecidestencora?
ROSINA
S,signore,
Quand,chehogideciso!
CASSANDRO
Sicch,cara,carina,
Tradimeemiofratello
Chivoletesposar?
ROSINA
Voglioilpibello.
CASSANDRO
Losonioadognipatto.
ROSINA
Esevolessi
Peresempio,ilpipazzo?
CASSANDRO
Nonsonpiquello,
ecedountantoonore
A1fratelmiominore.
ROSINA
Dunquealuimicedete?
CASSANDRO
Dunquediluivipreme?
ROSINA
Iotuttiduevorrei
sposarviinsieme.
CASSANDRO
Diavolo,cosadite?
ROSINA
Perchnonmicapite,
Masobenio,chedirvorrei.


CASSANDRO
Vorreste
Duemaritiad
untratto?
ROSINA
Oib!vorrei,
Checredosiatuttuno,
Unasposaperuno;
mavedete;
Eccolochesavanza
alentopasso.
Celatevi,etacete,
Chevosecopigliarmi
unpodispasso.
(Cassandrosiritiraindisparte.)

Scene4PolidoroeRosina.
8.POLIDORO
Ehben,quandofacciamo
Questenozze,signora?
ROSINA
Sieteinistatovoi?
POLIDORO
Subitoancora.
ROSINA
Tuttisonprontiadunque
Inecessarirequisitialnostro
Matrimonioimminente?
POLIDORO
Permenonmancaniente,
Vhoperungiornointiero
amoreggiata,
Vhodipiregalata,
Quantoinsommavoleste,
ehofattotutto,
Epinonhopazienza.
ROSINA
Dalfratelvostroavete
voilicenza?
POLIDORO
Diche?
ROSINA
Diprendermoglie.
POLIDORO
Questaancoracivuol?
ROSINA
Sicuramente.
POLIDORO
Perch?
ROSINA
Perchdipende
Dasuoimaggioriinquesto
Ognionestapersona.
POLIDORO
Oh,seinquestoio
dipendo,eimibastona.
ROSINA
Manondicestevoi
Divolerdalfratello
esserdiviso,
Eaverlapartevostra?
POLIDORO
Oh!glielhodetto,
Mailfratelmio
mhaletto
Delpadrenostroil
testamento,evuole,
Chetuttosiadelprimo.
ROSINA
Ecomeadunque
Voleteprendermoglie?

POLIDORO
Comefantuttiglaltri.
ROSINA
Hanglialtrialmeno
Damantenerla.
Maconvoilamoglie
Chemanger,senon
aveteunzero?
POLIDORO
Faranchiopermangiar
qualchemestiero.
ROSINA
Bravodaver!Orora
SarunaBaronessa,
Perquestobelvisino
Mogliedunlegnaiuolo,
odunfacchino.
POLIDORO
Ma...promesso
mavete.
ROSINA
Ma...licenzachiedete.
Chiedetealfratelvostro
Damantenervicon
decoroilmodo,
Ediosonquipervoi.
POLIDORO
Daver?
ROSINA
Sulsodo.
POLIDORO
Facciamdunquecos.
ROSINA
Come?
POLIDORO
Parlate
Amiofratelvoistessa
invecemia,
Efate,chemidia
Ilmodo,elalicenza
Didaravoi
lamano.
ROSINA
Iotuttoquesto
domandargli?
vano!
Vorrilvostro
fratello
Chiosiapiuttosto
lasuasposa.
POLIDORO
Eh,voi
Perluisoloinclinate.
ROSINA
Perluino.
POLIDORO
Perchidunque?
ROSINA
Indovinate!

9.Finale
ROSINA
Selepupilleiogiro
Amorosetteetenere,
Serido,osesospiro,
Ilvostrocorchefa?
POLIDORO
Ilcormibatteinseno,
EilfigliolindiVenere,
Spera,midicealmeno,
Chequestoamorsar.

95010MozartCompleteEdition
96

ROSINA
Anchelaspeme
inganna
Eselamor
vaffanna,
Chivipotrasanar?
POLIDORO
Misaner,carina
Questagentilmanina,
Chevoimaveteadar.
ROSINA
Nonbasterebbeilcore?
POLIDORO
No!chunfurbettoamore,
Emipotragabbar.
ROSINAePOLIDORO
Almebelleinnamorate,
Unamanchevoibaciate,
Vipusoloimprigionar.
MentrePolidorovaper
prenderlamanodi
Rosinaellalada
Cassandro,cheapocoa
pocosivaaccostando.
POLIDORO
Lamanoaccordatemi
Perpegnodaffetto.
ROSINA
(aCassandro)
Scaro,prendetela!
CASSANDRO
Laprendo,laccetto.
ROSINAeCASSANDRO
Eilnodo,chealcore
Cistrinselamore,
Nonsciolgamaipi.
POLIDORO
Cheinganno!chefrode!
Larabbiamirode,
No,nonpossopi.
Masignornongiustizia
Dilevarmiilpandabocca,
Ohcheinganno,
ohchemalizia!
(piangendo)
Lamiasposa,uh,uh,uh,uh!
ROSINA
VoiloSposo?
CASSANDRO
Tumarito?
ROSINA
Conquelcapo!
CASSANDRO
Conquelmuso?
ROSINAeCASSANDRO
Questobelloinverit.
POLIDORO
Sonstordito,
sonconfuso!
ROSINA
Eimpietrito.
CASSANDRO
Einasinato.
ROSINAeCASSANDRO
(ridendo)
Ohchesposo,ah,ah,ah!
SCENAULTIMA
Cassandro,Polidoro,
Rosina,Ninetta,
Giacinta,Fracasso,Simone.


NINETTA,GIACINTA,FRACASSO,SIMONE
(dentrolascena)
Nozze,nozze,
evviva,evviva,
Piridente,pigiuliva
Sortealmondo
nonsid.
CASSANDRO
(voltandosiversolascena)
Cosastato?
POLIDORO
Chesar?
CASSANDRO
NinettaeSimone!
ROSINA
GiacintaeFracasso!
FRACASSO,GIACINTA,
SIMONE,NINETTA
(entrandoconallegria)
Sifacciatempore
Infesta,edinspasso.
Evviva!
CASSANDRO
Altol!
FRACASSO
Checosapretendete?
SIMONE
Faremounmacello!
CASSANDRO
Sfacciatapettegola!
SIMONE
Chedice?
FRACASSO
Cheintende?
NINETTA
Padrone!
GIACINTA
Fratello!
NINETTA
Perdono!
GIACINTA
Piet!
ROSINA
Ohzittounpol,
Nontantorumore.
CASSANDRO
Mailgrado...,mailsesso...
FRACASSOeSIMONE
Maleilhapromesso.
CASSANDRO
Mano...
ROSINA
Cossta.
GIACINTA
Fucolpodamore,
Pentitagisono.
Fratello,perdono!
NINETTA
Padrone,piet!
ROSINA,FRACASSO,
SIMONE
Cheserve,chegiova
Gridarcomeunmatto,
Giquello,chfatto
Disfarnonpotr.
CASSANDRO
Via!pace,perdono,
Scusabileilcaso.
ROSINA
Sequellanonsono,
Cheglihopersuaso.

Perdonoamepure
Cassandrodar.
POLIDOROe
CASSANDRO
Ohvedilasemplice,
Lafintabont!
POLIDORO
Cihogusto,lhocaro
Ilciucco,ilsomaro
Iosolnonsar.
CASSANDRO
Maquestoun
inganno!
ROSINA
Mainganno
innocente!
FRACASSOeSIMONE
Noncpiriparo,
Lamanglidon.
ROSINA
Chepensa?chedice?
lepiace?sipente?
TUTTI
inutileadesso
Difarpilamenti,
Giquestedelsesso
Sonlartiinnocenti,
Espirtoebellezza
Songranqualit.

MITRIDATE,RDIPONTO(CD133135)
AttoI(CD133)
ScenaI
PiazzadiNinfea,convedutainlontanodalla
portadellacitt.Sifareconseguitoduffizialie
soldati,edArbacecoiCapidecittadini,uno
dequaliportasopraunbacilelechiavidella
citt.

2.ARBATE
Vieni,Signor.Pichelemieparolelomaggio
delleschiere,delpopoloilconcorso,ela
dipintasulvoltodiciascungioiasincera
abbastanzatispiegainquestogiornoquanto
esultiNinfeaneltuoritorno.
SIFARE
Questidivostrafedecontrassegnigradisco.
Altrimaggioriperneattesi,enondovea
ricettoquiFarnacetrovar.
ARBATE
Delregnoadunquepugilagelosiarender
nemicoSifaredelgerman?
SIFARE
LabellaGrecachedelgranMitridategliaffetti
merit,diquestosenofupuranchelafiamma,
edlaprimacagion,benchinnocentedelle
garefraterne.
ARBATE
Ohquantotiprecorsecollebrameecoivotiil
dolentesuocor!
SIFARE
Seilverminarri,moltoasperarmiresta,e
tuttoiospero,sediRomafrailservoefral
nemicoosaArbateappigliarsialpartito
miglior.
ARBATE
Seloso!Epuoidubitarne,oSignor?Quelzelo
istesso,chealtuograngenitoremistrinse,in
tuofavorequituttoimpegno,etuvedrai

95010MozartCompleteEdition
97

Farnace,mercdelmiovalor,dellamiafede,
girnealtroveacercaresposaesede.
[partecolseguito]

ScenaII
SIFARE
SeamesunisceArbate,chenonposso
ottener?
ASPASIA
Iltuosoccorso,Signor,vengoaimplorar.
Afflitta,incerta,vedovapriachesposaal
migliorfigliodiMitridateilchiedo.Ahnonsia
vero,cheilsanguechetuniscealtuogermano
dunainfelicealpiantoprevalgainquestod.
Barbaro,audace,ingiuriosoalpadre,eglial
miocorechlibero,chelodia,impone
amore.
SIFARE
Regina,ituoitimoridehcalmaperpiet.
Finchiorespiro,liberoiltuovoler,eandr
Farnaceforzaaltroveadusar.Machitadora,
sechiamideliquente,sappichiosondilui
menoinnocente.
ASPASIA
Cheascolto,ohCiel!
SIFARE
Nontisdegnar:diversodallamordelgermano
diSifarelamor.No,miaconquista,sedalui
tidifendo,nondiverrai.Maquandotavrresa
atestessa,abborriraiquantoilnemicodi
difensore?Edio,perpremiodimiafper
compiacerti,risolveredovrdinonvederti?
ASPASIA
Dellostato,incuisonoprence,seseicortese,
tantonontabusar.
SIFARE
Iononneabuso,allorchetidefendosenza
sperarmerc,quandoprometto,bellAspasia,
ubbidirti,epoicelarmipersempreagliocchi
tuoi.
ASPASIA
Forseprometticicheseguirnonseicapace.
SIFARE
Eadontadegiuramentimieidunquepaventi,
chiopossatecoancoratirannodivenir?
ASPASIA
ControFarnacechiedoaita,oSignor,dall
empiemanisalvamipria:Questilmiovoto.
Alloradusarmiiniquiaforzaduopononti
sar,perchiotaccordidivedermiilpiacer,e
tuforsanchemeglioconosceraiqualsiaquel
core,choraingiustoaccusarpuoidirigore.

3.No.1Aria
Aldestin,chelaminaccia,
togli,ohDio!questalmaoppressa,
primarendimiamestessa
epoisdegnaticonme.
Comevuoidunrischioinfaccia,
chiorispondaadettituoi?
Ahconoscermitupuoi
Elmiocorbensaiqual.

ScenaIII
SIFARE
4.Qualtumultonellalmaquelparlarmi
dest!Conpidiforzarigermogliarvisento
speranzemiequasiperdute.Unnovosprone
pervoisaggiungeoggiallamia
virt.Tronchinsiormaileinutilidimore,ela


mercede,chepromettermisembrailcaro
bene,ahsimeritialmen,senonsottiene.

5.No.2.Aria
Soffreilmiocorconpace
unabelttiranna,
lrgogliodunaudace,
notollerarnonsa.
Maffanna,enonmffende
chipunegarmiamore.
Madifurormaccende
chimiorivalsifa.
[partecolsuoseguito]

ScenaIV
Tempiodivenereconaraaccesaedadornadi
mirtiedirose.Farnace,Aspasia,soldatidi
Farnaceallintornoesacerdotiviciniallara.
FARNACE
Sinaquando,oRegina,saraicontrariaallemie
brame?Ahfuggi,sfuggi,emecovieni.Te
impazianteattendediPontoilsoglio,eognun
vedertibramasuareginaemiasposa.Allara
innanzidammiladestra.Ementrecon
auspiziopilietosassicuraildiademaalletue
tempialepromessedelpadreilfiglioadempia.
ASPASIA
PervendicareunpadredaiRomanitrafitto
scettriiononho,nonhosoldati,esolounico
avanzodellemiefortunemirestailmiogran
cor.Ah,questoalmenoserbilafdovutaal
genitore,nsiveggalafigliaporgerlaman
sacrilega,edaudaceallamicodiRoma,alvil
Farnace.
FARNACE
Quasidebolipretestisonquesti,chetinfingi,e
chitidissecheamicodiRomaioson?Sposa
ortivoglio.[lapigliaaforzapermano]Eal
miovolereomaicontrastiinvano.
ASPASIA
Sifare,dovesei?[guardandoagitataperla
scena].

ScenaV
SIFARE
Ferma,ogermano,edinAspasiaapprendi
Sifarearispettar.
FARNACE
[edAspasiaconresentimento]
Intendo,ingrata,meglioadessoiltuocor.De
tuoirifiutticostuiforecagion.EidiFarnace
eamantepifelice,ementispiace.
SIFARE
[aFarnace]
Suodifensorquisono.Echiquelcore
tiranneggiarpretendedituttoilmiofuror
degnosirende.
FARNACE
ContantofastoinColcoafavellarsenvada
Sifareasuoivassalli.
SIFARE
InColcoeinquestaReggiacospossoparlar.
FarnacePotrestiquipurlemiemaniversar
lalmacolsangue.
SIFARE
[vuolmetteremanoallaspadaecosipure
Farnace]
Atantoardirecosirispondo.
ASPASIA
[trattenendoiduefratelli]
Ahno,fermate.

ScenaVI
Allirefreno,Principi,ol.Darmateproregi
tuttoimgombroilmar,eMitridatedisestesso
arecarpicertoavvisoalportodiNinfea
vieneimprovviso.
SIFARE
IlPadre!
FARNACE
Mitridate!
ARBATE
AmeforieronefurapidolegnoAhsideponga
ognigarafravoi,cessiognilite,emecoil
padreadonorarvenite.

6.No.3Aria
Lodionelcorfrenate,
tornifravoilapace,
unpadrepaventate,
cheperdonarnonsa.
Soggiilfranternoamore
cessainentrambietace,
dalgiustosuorigore,
chevidifender?
[parte]

ScenaVII
7.FARNACE
Principe,chefacemmo?
SIFARE
Ionelmiocorerimproverinonsento.
ASPASIA
Ohritornofatal!Sifare,addio.

8.No.4Aria
Nelsenmipalpitadolenteilcore;
michiamaalpiangereilmiodolore;
nonsoresistere,nonsorestar.
Masedilagrimeumidohoilciglio,
solo,credimi,iltuoperiglio
lacagionbarbaradelmiopenar.
[parte,esiritiranopureisacerdoti]

ScenaVIII
9.FARNACE
Untaleaddio,germano,sispiegaassai:mail
tempoaltroesigedanoi.Ritornailpadre,
quantoinfelicepi,tantopifiero,pensaci:in
tuofavoretuprontehailetueschiere,ame
nonmancaunaltrobraccio.Ilnostroperdono
siassicuri,alulilngressodellacittsichiuda,
egiusteeidialeleggi,osideluda.
SIFARE
Notaamestessoioaon,notoabbastanzam
ilgenitor:maquandoritornaMitridatepi
nonsocheubbidir.
FARNACE
Adessoalmenocautamentesiceliilsegreto
comun,nsiatraditodalgermanoilgerman.
SIFARE
Saprgelosoancheconmioperigliofido
germanserbami,efidofiglio.

10.No.5Parto
Nelgrancimento
sargermanoefiglio;
egualealtuoperiglio
lasortemiasar.
Tadopraatuotalento;
ninmemancargiamai
vedrailafedelt.
[partecoisuoisolati]

95010MozartCompleteEdition
98

ScenaIX
11.FARNACE
Eccoviinunmomentosconvoltiimiei
disegni.
MARZIO
AunviltimoreFarnaceancornon
sabbandoni.
FARNACE
Equalesperanzaamepiresta,senemica
fortunasulcapomiotuttoilsuosdegno
aduna?
MARZIO
Maggiordoggaltrofatoeilgranfatodi
Roma,epriachesorganelcielnovellaaurora,
neavraipicerteprove.
FARNACE
Allatuafedemiraccomando,amico:ilmio
perigliotustessovedi.Inmiadifesaahtosto
movanlaquilealtere,acuiprecorrelavittoria
eilteror.PoiquandoancorasiadiRoma
maggiorlempiomiofato,ahsimorabens,
mavendicato.

12.No.6Aria
Vengapur,minacciefrema
limplacabilgenitore,
alsuosdegno,alsuofurore
questocornonceder.
Romainmerispettietema
menferoceemensevero,
pibarbaro,opifiero
lirasuamirender.
[parteconMarzioseguitodasuoisoldati]

ScenaX
Portodimare,condueflottenacorateinsiti
oppositidelcanale.Daunapartevedutzadella
cittdiNinfea.Sivieneaccostandoalsuonodi
lietasinfoniaunaltrasquadradivascelli,dal
maggiordequalisbarcanoMitridateed
Ismene,
quegliseguitodallaguardiareale,equestada
unaschieradiParti.Arbateconseguitogli
accogliesullido.Siprosieguepoidimanoin
manolosbarcodellesoldatesche;lequalisi
vannodisponendoinbellaordinanzasulla
spiaggia.

13.No.7Marcia

14.No.8Cavata
MITRIDATE
Sedilauriilcrineadorno
fidespiaggie,avoinontorno.
Tintoalmennonportoilvolto
divergognaedirossor.
Anchevintoeancheoppresso
iomiserboognorlistesso
evirecoinpettoaccolto
sempreegualeilmiograncor.

(CD134)
1.Recitativo:
MITRIDATE
Tumirivedi,Arbate,maquelpinonrivedi
feliceMitridate,acuiRomalungamentefu
datobilanciareildestin.Tuttihadispersi
dottolustriisudorsolaunanotteaPompeo
fortunata,amefatale.
ISMENE
Ilrammentarchevale,Signor,unasventura


percuilagloriatuanullasoscura?Treguai
pensierfunestisuquestamicolidoperbreve
spazioalmenoabbiandanoi.Doveson,
Mitridate,ifiglituoi?
ARBATE
DallaReggiavicinaeccogliaffrettaalpidel
genitoreilrispettoelamore.

ScenaXI
SIFARE
Sulatemutadestramentrelunfiglioelaltro
unbacioimprimetuttiisensidelcor,padre
tesprime.
MITRIDATE
Principi,qualconsiglioinsgranduopo,ela
ColchideeilPonto,chealtuovalorcommisie
allatuafede,vifeceabandonar?
FARNACE
Lnfaustogridodellatuamortelundellaltro
ingaroqunetrasse,oSignor.Noifornunati,
chenelrendercireideltrascreditocennoilbel
contentoabbiamdirivedersalvochitanto
statofinoraesospiratoepianto!
ISMENE
PerchfraisuoicontentidissimulaFarnace
quello,cheprovainrivederlafigliadelPartico
Monarca?
FARNACE
Ohrimproveroacerbo!
MITRIDATE
Entrambi,ofigli,mengiudice,chepadrevoi
quimiritrovate.Ilprimointantolimprudente
trascorsoademendartusii,farnace.Ismene,
cheamasti,ilso,vienetuasposa:inlei
Mitridatealcombattutosoglioravvisaun
nuovoappoggio:alnodoeccelso,chiostesso
ricercai,lalmaprepara,editalsorteafarti
degnoimpara.
FARNACE
Signor...
MITRIDATE
Airegitettidoveinbreveiotiseguo,o
Principessa,eSifareeFarnace,scorganoipassi
tuoi.MecosoltantorimangaArbate.
ISMENE
Iotiprecedo,oSire,maportonelsenoun
segretotimor,chemipredicequantopocoil
miocorsarfelice.

2.No.9Aria
Infacciaallogetto,
chemardedamore,
dovreisoldiletto
sentirminelcore.
Masentountormento,
cheintendernonso.
Quallabbrochetace,
queltorbidociglio
lacaramiapace
gimetteinperiglio,
gidicechesolo
penaredovr.
[parteedentralnellacittconSifaree
Farnace,
seguitadaiParti]

ScenaXII
3.Recitativo
MITRIDATE
TemeIsmenearagion:mapidileitemeil
miocor.Sappilo,Arbate,iostessodopoilfatal

conflittolafamadimiamorteconfermartra
voifeciaccichepoinelgiungereimprovviso
nonfosseroglioltraggiamecelati,chesoffro,
ohDio,daduemieifigliingrati.
ARBATE
Daduetuoifigli?
MITRIDATE
Ascolta;inmezzoalliraSifaredaFarnace
giustobenchiodistingua.Maquichesi
facea?Forsehannoentrambipretesoamor
dellaRegina.AqualedilorsembracheAspasia
diapifacilelorecchio?Iostessoaleiinquale
aspettohodamostrarmi?Ahparlaequanto
maivedestiequantosai?Fa,chesianotoa
Mitridateormai?
ARBATE
Signor,Farnaceappenaentrnellacittche
impazientecorseaparlardamoreallaRegina,
aleidiPontoiltronocolladestradisposo
offrendoindono.
MITRIDATE
Empio!Senzalasciarletempoaspargere
almenolelagrimedovutealcenermio!
ESifare?
ARBATE
Finorasegnodamoreinluinonvidi.E
sembra,chedegnofigliodiMitridateeivolga
soldiguerrapensieriedivendetta.
MITRIDATE
MapurequaleaNinfeadisegnolafrett?
ARBATE
Queldiserbasicollaforzadellarmi,ecol
coraggiocicheparteeicredeadelsuo
retaggio.
MITRIDATE
Ahquestoilminorpremiocheunfigliotal
proporsideve.Aluivanne,Arbate,eloaccerta
delpaternoamormio.Farnaceintanto
cautamentesiosservi.
ARBATE
Ilrealcennoiovoloubbidienteadeseguir.
Chemairivolgeinmente!
[parte]

ScenaXIII
Mitridate,guardierealiedesercitoschierato
Recitativoaccompagnato
MITRIDATE
Respiraalfin,respira,ocordiMitridate.Ilpi
crudeledetuoitimorieccosvan.Quelfigliosi
caroatefidoritrovi,einluinonvedrai
costrettoapunireunrivaltroppodiletto.
MoffendapurFarnace:eglinonoffrealmio
furorgelosocheunodiatofiglioamenemico
adeRomaniammiratoreantico.Ahsema
lamaAspasia,seunafettoeimitoglieame
dovuto,nonsperitraditordameperdono:per
luimiscordogichepadreiosono.

4.No.10Aria
Quelribelleequellingrato
vuchealpimicadaesangue,
esaprnelempiosangue
pidunfallovendicar.

AttoII
ScenaIAppartamenti.
5.Recitativo
ISMENE
Questolamor,Farnace,questalafchemi
giurasti?Equandovarcoprovincieeregni,eal

95010MozartCompleteEdition
99

marmaffidosolperunirmiteco,di
conoscermiappenatumostri,ingrato,edio
schernitaamantetitrovoadoratordaltro
sembiante?
FARNACE
Chevuoi,chiodica,oPrincipessa?veroche
untempotadorai.Datelontanovennelardor
scemandoapocoapoco,siestinsealfin,eaun
nuovoamordiloco.
ISMENE
Anchiodatelontanavissifinora,epur...
FARNACE
Questidamoresonoisolitischerzi,etupi
saggia,senzadolertitantodetradimentimiei,
sprezzamiinfidoeconsolartidei.
ISMENE
Inverdeveassaipocolaperditacostardun
similbene:manataalsoglioIsmenedeveun
altrodovereaverpresente.Nonbastaallemie
parichiledisprezzaildisprezzar.Richedeo
riparoovendettaquelloltraggiochiosoffro,e
aMitridatesaprchiederlaiostessa.
FARNACE
Adiritarlocontrounfiglioabborritopoca
faticahaidadurar:matantononsperar,no
chepossailsuorigoredanuovavitaadun
estintoamore.

6.No.11Aria
Va,lerormiopalesa,
elamiapenaaffretta,
macaralavendetta,
forseticoster.
Quandosilieveoffesa
punitainmevedrai
tustessaaccuserai
ditroppacrudelt.
[parte]

ScenaII
7.Recitativo
ISMENE
Perfido,ascolta...AhMitridate!
MITRIDATE
Involtoabbastanzaiotileggo,oPrincipessa,
cichevuoidir,cichetubrami.Avraidi
Farnacevendetta.Eglidelpariteoffendeeil
genitor.Solounaprovamibastaancordesuoi
delittimepoidecisalasuasorte,nesser
figlioilsalverdamorte.
IsmeneParlidimorte?AhSire.
MITRIDATE
Vanne,ecominciaascordartidilui.Pidegno
sposoforseinSifareavrai.
ISMENE
Maquellononsar,chetantoamai.
[siritira]

ScenaIII
ASPASIA
Eccomiacennituoi.
MITRIDATE
DilettaAspasia,lesventuremaggiorisaran
dolciperme,sepursventurapertenonfosse
ilmioritorno.Assaimisontecospiegato,eil
pegnoillustrecheportidimiaf,quantomi
devitirammentaabbastanza.Oggineltempio
anchelatuamisiassicuri:Altrovelamia
glorianechiama,edioritornofartecoalle
navialnuovogiorno.


ASPASIA
Signor,tuttotupuoi:chimidivitadeltuo
volerschiavamirese,esiasollubbidirtila
rispostamia.
MITRIDATE
Divittimacostrettainguisaadunquemeco
allaraverrai.Barbara,intendo:Tusdegniun
infelice.Pichenoncrediioticomprendo,e
vedocheilverpurtroppoamefudetto.Un
figlioquitiseduceetulascolti,ingrata.Madi
quelpiantoinfidopocoeigodr.Custodi.
Sifareame.
[esconodueguardie,ebericevutolordinesi
ritirano]
ASPASIA
chefarpretendi?AhSire.Sifare...
MITRIDATE
Ilso,mfidoeforsemenoarrossirai.sedun
malnatoaffettopotesseunfigliotalesserl
ogetto.MachetentiFarnacesinripirmila
sposa,echetuadoriunempioedunaudace,
cheprivodivirt,senzarossore...[aSifare,che
giunge]Vieni,ofiglio,traditoilgenitore.

ScenaIV
ASPASIA
Respiro,oDei!
SIFARE
Signor,cheavvenne?
MITRIDATE
AmanteiltuogermandAspasia,essadilui.
Tulacuifnonscuotedungermanduna
madreilvileesempio,dalletramedunempio
liberaMitridate,aquestingratarammentail
suodover,dillechetemadirritarliremie,che
amorsprezzatopudiventarfuroreinun
momento,echetardosarebbeilpentimento.

8.No.12Aria
[aSifare]
Tu,chefedelmisei,
serbami,ohDio!quelcore:
[aAspasia]
Tu,ingrata,isdegnimiei
lasciadicimentar.
[parte]

ScenaV
9.Recitativo
SIFARE
Chedir?Cheascoltai?Numi!efiavero,che
siaditantosdegnosolFarnacecagion,perch
atecaro?
ASPASIA
AmecaroFarnace?AMitridate,chedelmio
cornonpenetrlarcano,perdonuntal
sospetto,nonaSifare,no.
SIFARE
Orqualmaiilrivalfortunato?
ASPASIA
Ancornolsai?Dubitiancor?D,chipregai
pocanzi.Perchmifossescudocontro
uningiustaforza?Echifinorasenzamovermi
asdegnodiparlarmidamor,dimmifudegno?
SIFARE
Cheintendo!Iodunquesonolavventuroso
reo?
ASPASIA
Purtroppo,oPrence,miseducesti,emio
malgradoancorasento,chequestocorsempre
tadora.Daunaleggetirannacostrettaiotel

celai,maalfine....OhDei!CherecaArbate?

ScenaVI
ARBATE
Allatuafedeilpadre,Sifare,applaude,e
trattenendoilcolpocheFarnaceopprimea,nel
campoetrambichiamaifigliedAspasia.
AncheIsmenepresente,spettatricenonvanaa
quelchiocredo,sibramaalgrancongresso;il
cennoquesto:recatoiolho:davoi
sadempiailresto.
[parte]

ScenaVII
ASPASIA
Ohgiornodidolore!
SIFARE
Ohmomentofatale,chemifadeviventiilpi
felice,elpimiseroancor?Chenontacesti,
adorataRegina?Iotavreiforseconpi
costanzainbracciomirataalgenitor.
ASPASIA
Dehnoncerchiamodindeboliriciinutilmente.
Iotuttoci,chemimponeilmiodover
comprendo,madituafedeancheunaprova
attendo.
SIFARE
Chepuoibramar?
ASPASIA
Dagliocchimieitinvola,nonvedermimaipi.
SIFARE
Crudelcommando!
ASPASIA
Neccesarioper.troppomnotaladebolezza
mia;forsemaggioredileinonlamiavirt:
potrebbenelvedertitalorfuggirdalsenoun
indegnosospiro,elalmapoiversolunicoe
solosuoben,dacuilavuoldivisailcielo,
prendercosifurtivamenteilvolo.Miseraqual
orroresarebbeilmio!Qualerimorso!Ecome
potreilavarmacchiasreagiammaisenoncol
sanguemio!Dehsefupuralafiammatua,da
untalcimento,ocaro,liberalamiagloria.Il
duropassoticosta,ilso,maquestopasso,oh
quantoancheamecosterdaffannoepianto!
Recitativoaccompagnato
SIFARE
Nonpi,regina,ohDio!nonpi.Sevuoi
Sifareubbidiente,aquestosegnoteneratanto
ahnonmostrartialui.Dellesventurealtrui,
deltuocordogliolempiacagioneiofui
svelandotiilmiocor,portandoalsogliodel
carogenitorelinsanasmaniaduningiusto
amore.Ahperchsulmiolabbro,osommi
Dei,confulmineimprovvisoannientarnon
sapesteidettimiei!Innocentemorrei...
ASPASIA
Sifare,edoveimpetosconsigliatotitrasporta?
Chedipivuoidame?Ritorna,ohDio!alla
ragion,sepurnonmivuoimorta.
SIFARE
Ahno;perdon,errai.Tilascioinseno
allinocenzatua.Dateminvolo,perchtu
vuoicos,perchlochiedelafede,ildover
mio,lapacedeltuocor...Aspasia,addio.

10.No.13Aria
Lungidatemiobene
sevuoi,chioportiilpiede,
nonrammentarlepene
cheprovi,ocara,inte.

95010MozartCompleteEdition
100

Parto,miabella,addio,
chesecontepiresto
ognidovereobblio
miscordoancordime.
[siritira]

ScenaVIII
11.Recitativoaccompagnato
ASPASIA
GrazieaiNumipart.Matuqualresti,
sventuratomiocor!Ahgiacchfostidi
pronunziarcapacelasentenzacrudel,siegui
limpresa,chetidettvirt.Scordaunoggetto
pertefatal,riflettiallatuagloriaeassicuracosi
latuavittoria.Ingannatachioson!Tentarlo
possoetenterpoichlprescrive,ahilassa
tantogiustoildover,quantoinumano;malo
sperardiconseguirlovano.

12.No.14Aria
Nelgravetormento,
cheilsenomopprime,
mancaregisento
lapacedelcor.
Alfierocontrasto
resisternonbasto;
estraziaquestalma
dovereedamor.

ScenaIX
CampodiMitridate.Alladestradelteatroesul
davantigranpadiglionerealeconsedili.
Indietro
foltaselvaadesercitoschieratoecc.Mitridate,
IsmeneedArbate,guardierealivicinoal
padiglione,esoldatipartiinfacciaal
medesimo.

13.Recitativo
MITRIDATE
Qui,dovelavendettasipreparadellAsia,o
Principessa,mecosedertipiaccia.
[siedonoMitridateedIsmene]
ISMENE
Acennituoiprontaubbidisco.MaFarnace?
MITRIDATE
Ancora,mercdituepreghiere,pende
indecisoilsuodestino.Alcielopiacessealmen,
choltreunrivaleinluinontrovassiun
traditor!
ISMENE
Chedici!
MITRIDATE
Forsepurtroppoilver.Demieinemiciei
mendicailfavoreperquelcheintendo,edha
Romanoilcuore.
ISMENE
Chepossa,ohdei!Farnacedattentatosvil
essercapace?
MITRIDATE
Tostoloscorger.VenganoArbate,ifigliame.

ScenaX
MITRIDATE
Sedete,oPrenci,emascoltate.[siedonoSifare
eFarnace]
EtropponotoavoiMitridate,percreder,
cheglipossainoziovilepassarpigiornied
aspettar,chevengaquidinuovoacercarloil
ferroostile.Ilterribileacciaro,riprendo,o
figli.


Edaquestermearenecintodarmi,edigloria
lonormaffrettoavendicardelsoglio,manon
gisuPompeo,sulCampidoglio.
SIFARE
SulCampidoglio?
FARNACE
Ohvanconsiglio!
MITRIDATE
AhforsecintadainaccessibilidifeseRoma
credete,ovispaventaillungodisastroso
sentiero?AllAsianonmanchiunMitridate,ed
essailtrovi,Farnace,inte.SposoadIsmenei
regnidifendi,eidonisuoi:passalEufrate,
combatti,elasuasettecolliovioerettoavr
felicementeiltronodituevittorieamepoi
giungailsuono.
FARNACE
Ahiqualnemiconumesiforsennataimpresa
pudettarti,oSignor?Maquantadetuoi
regniparteillesariman!Questapiuttostosia
tuacuraaserbar.Setallontani,chifido
rester?ChimassicuradelvolubilePartoe
come...
SIFARE
giustocheldondeleoffesevengonoanoi,
dellavendettailpesovadaacader.Soloti
piacciaamencanutaetadeaffidarnelacura,e
mentreinAsialaviltdiFarnaceticostringea
restar,cedilonoreditrionfarsultebroalmio
valore.
FARNACE
Vanasperanza.ARomasiamoindarnonemici.
Altempo,opadre,conprudenzasiserva,ese
tipiace,siaccetti,ildirpur,loffertapace.
MITRIDATE
Brami,Ismenedipi?Lempiogiquasida
sestessosiscopre.Echidiquestaillieto
apportator?

ScenaXI
MARZIO
Signor,sonio.
MITRIDATE
Cieli!UnRomannelcampo?[sialza
impetuosamenedalsedere,esecosialzano
tutti]
SIFARE
EiconFarnacevenneinNinfea.
MITRIDATE
Ediolignoro!
Arbate,sidisarmiFarnace,enelprofondo
dellatorremaggior,lapenaattenda,dovuta
asuoidelitti.
[ArbatesifaconsegnarelaspadadiFarnace]
MARZIO
Almen...
MITRIDATE
Nonodiochiunfigliomisedusse.Onde
venisti,temerario,ritorna.Iltuosupplicio
sopendosol,perchnarrartupossaciche
udistievedestiallatuaRoma.
MARZIO
Iopartir;matuomalgradoinbrevecolei,che
sordosprezzieminvia,ritroverdifarsiudir
lavia.[parte]

ScenaXII
MITRIDATE
InclitaIsmene,ohquantoarrossiscoperte!
ISMENE
Lasciailrossoreachinelconcepirsreo

disegnoduntantogenitorsireseindegno.

14.No.15Aria
ISMENE
Soquantoatedispiace
lerrordunfiglioingrato:
mapensaallatuapace,
questatudeiserbar.
Spettacolonovello
non,seunarboscello
daltronodondenato
sivedetralignar.
[parteseguitadasuoiParti]

(CD135)
ScenaXIII
1.Recitativo
FARNACE
Ah,giacchsontradito,tuttosisveliomai.Per
quelsembiantechefapurtroppoilmio
maggiordelittoadoltraggiarti,opadre,sappi,
chenonfuisolo.aterivaleSifareancor,ma
pifatal;chedoveripulseiosoltrovai,sprezzi
erigore,edimepigraditoottenneamore.

2.No.16Aria
FARNACE[aMitridate]
Sonreo;lerrorconfesso;
edegnodeltuosdegno
nonchiedoatepiet.
Mareodimepeggiore
iltuorivalequesto.
[accennandoSifare]
Chemeritlamore
dallafatalbelt.
Nelmiodolorfunesto
gemereancortudei;
ridereadannimiei
Sifarenonpotr.
[partedondottoviadaArbaceedalleguardie
reali]

ScenaXIVI
3.Recitativo
SIFARE
Ecrerderai,Signor...
MITRIDATE
Saprfrapoco,quantocrederdeggio.Collin
disparteadAspasia,cheviene,celatietaci.
Violatoilcenno,ambivirenderadegnidi
morte.Udisti?
SIFARE
Udii.Dehnontradirmi,osorte.[sinasconde
dietroalpadiglione].
MITRIDATE
Ecco,lngrata.Ahsecolartesadopri,edalsuo
labbroilveroconlingannositragga.Alfin,
Regina,tornoinmestesso,econrossor
ravviso,cheilvolertimiasposaalmiostato,ed
altuotroppodisdice.Gravedanni,infelice,
fuggitivoerammingoiopinonsonocheun
ogettofunesto,etusaresti,congiuntaa
Mitridate,sventuratapersempre.Ingiusto
menoeglisiateco,equandoguerraemorte
parteacercar,conmigliorconsiglioperisposo
adAspasiaoffraunsuofiglio.
SIFARE
Cheintesi!
ASPASIA
Ohciel!

95010MozartCompleteEdition
101

MITRIDATE
NonFarnace:Invanovorrestiunirtia
quellindegnoequestadestra,chetantoamai
permiotormento,soloaSifareiocedo.
SIFARE
Ohtradimento!
ASPASIA
Ehlasciadipiaffliggermi,oSire.AMitridate
so,chefuidestinata,esochentrambisiamoin
questomomentoallaraattesi.Vieni.
MITRIDATE
Loveggo.Aspasia:amiodispettovuoiserbar
perFarnacetuttigliaffettidelcuoreingrato.E
gilodio,ildisprezzopassdalpadrealfiglio
sventurato.
ASPASIA
Iosprezzarlo,ohSignor?
MITRIDATE
Pinonmoppongo.Lavergognosafiamma
sieguianutrir;ementreillustremortein
qualchedelmondoangoloestremovocol
figlioacercar,coltuoFarnacetuquiserviai
Romani.Andiamo,iovoglioditantituoi
rifiutivendicarmisulcampocondartiio
stessoinbraccioaunvilribelle.
SIFARE
Ah,seguisseatacer,barbarestelle!
ASPASIA
Priamorir.
MITRIDATE
Tufingiinvano.
ASPASIA
Io,Sire?Malmiconosciepoichalfinnon
credo,cheingannarmituvoglia...
SIFARE
Ohincauta!
ASPASIA
Apprendi,cheperFarnacemainonsacceseil
miocor,cheprimaancoradimeritarlonor
dunregiosguardoqueltuofigliofedel,quello
chetantoperchsimilealpadre,eate
diletto...
MARZIO
Lamasti?Edeitamava?
ASPASIA
Ahfulaffettoreciproco,oSignor...Mache?
Nelvoltoticangidicolor?
MITRIDATE,SIFARE,ASPASIA
OhDio!Sifarequi?
SIFARE
[facendosiavanti]
Tuttoperduto.
ASPASIA
[aMitridate]
Iodunquefutradita,ocrudel?
MITRIDATE
Iosolosonfinorailtradito.Voinellareggia,
indegni,frabreveattendo.Ivilamiavendetta
renderpriadipartirsaprfamosacollastrage
defigliedellasposa.

4.No.17Aria
Gipietmispoglio
animeingrate,ilseno:
pervoigisciolgoilfreno,
perfidialmiofuror.
Padreedamanteoffeso
vogliovendetta,evoglio
cheopprimaentrambiilpeso
delgiustomiorigor.
[parte]


ScenaXV
5.Recitativo
ASPASIA
Sifare,perpietstringilacciaro,einmede
malituoipuniscidituamanlareasorgente.
SIFARE
Chedici,animamia?Nereoquelfato,che
ingiustomipresegue.Eglimhapostoiniraal
padre,eimiorivallorese,edorlindegnavia
dipenetrarnellaltruicorgliapprese.
ASPASIA
Ahseinnocente,ocaro,mitimostrailtuo
amor,nonlasciaalmenodessermecopietoso.
Eccotiilpetto,ferisciomai.DiMitridate,oh
Dio,siprevengailfuror.
SIFARE
Colsanguemio,solcheAspasialovoglia,tutto
sisazier.AhmiaRegina,sappiticonsigliare:a
compiacerlorenditipronta,oalmentifingi:
alfinepensa,cheglimpadre;aluigiurando
eternafedeascendiiltrono,elasciachenella
sortesuabarbaratantosifarenonticostialtro
chepianto.

Recitativoaccompagnato
ASPASIA
Iosposadiquelmostro,incuispietatoamore
cidividepersempre?
SIFARE
Epurpochanzinonparlavicos.
ASPASIA
Tuttanonmeralasuabarbariaancorben
nota.Orcomeuntalesposoallarapotrei
seguir:Comeaccopiarladestraaunadestra
potreituttafumantedelsangue,aim,del
trucidatoamante?No,Sifare,perdona,iopi
nolpossoeinvanmelchiedi.
SIFARE
Evuoi...
ASPASIA
S,precedertiaDite.Amenonmancaper
valicarquelpassoecoraggio,edardir;manon
lavreipermirardelmiobenleangoscie
estreme.
SIFARE
No,miobelcor,noimoriremoinsieme.

6.No.18Duetto
SIFARE
Sevivernondeggio,
setumorirpurdei,
lascia,bellidolmio,
chiomoraalmenconte.
ASPASIA
Conquestiaccenti,ohDio!
crescigliaffannimiei,
troppotuvuoi,benmio,
troppotuchiediame.
SIFARE
Dunque....
ASPASIA
Dehtaci.
SIFARE
OhDei!
ASPASIA,SIFARE
Ah,chetusoltusei.
Chemidividiilcor.
Barbarestelleingrate,
ah,muccidesseadesso
leccessodeldolor!

AttoIII
ScenaI
Ortipensili.Mitridateconguardie,epoi
Aspasiaconlebendedelrealdiadema
squarciate
inmano,seguitadalIsmene.
7.Recitativo
MITRIDATE
Peraomaichimolgraggia,edilmiosdegno
pilunfigliodallaltrodidistinguernoncuri.
Vadasi,eacadersiaSifareilprimo...
Ahi,qualincontro!
ASPASIA
[gettandoviadispettosamentelebende
suddette]
Aterra,vaniimpaccidelcapo.Allamiamorte
distrumentofunestogiacchnemmenservite,
iovicalpesto.
MITRIDATE
Qualfuror?
ISMENE
Degno,oSire,dichiliberanacque.Idonituoi
direndersifatalidisperatatent,mainumiil
laccioinfranseropietosi.Ahsetcaralavita
sua,seancortuserbiinsenoqualchedamor
scintilla,uniraaffrena,cheforsetroppo
eccedeeci,cheinvanoperleviedelrigor
tentiottenere,lottengalaclemenza.
MITRIDATE
Echenonfeci,Principessa,finor?
ISMENE
Nellarduaimpresanonstancartispresto.Fa
ceilcupidoamantelaravvisadalei,nonil
regnante.
MITRIDATE
Quantomicosta,oDio,lavvilirmidinuovo!
Mailvoui?Sifaccia.
ISMENE
Ahs:desempioIsmene,Signor,tiserva.Io
quelloltraggioistessochetuoursoffri,enon
pretendoconeccessopeggioredivendicareil
miotraditoamore.

8.No.19Aria
Tusaiperchimaccese
quantosopportoanchio,
epurlaffannomio
noncangiasiinfuror.
potreipunirlo,vero,
matollerleoffese,
eancoranondispero
divincerequelcor.
[parte]

ScenaII
9.Recitativo
ASPASIA
Recrudel,Respietato,ahlasciaalmenochioti
scorgaunavoltasullabbroilver.Non
ingannarmieparla:diSifarechefu?Vittima
forsedelgelosotuposdegnoeigispir?
MITRIDATE
No,viveancora,epouiassicurar,selbrami,i
giornisuoi.
MITRIDATE
Nonabusandodellamiasofferenza,allemie
bramemostrandoticorteseeneltuocorequel
ben,chemisideve,amerendendo.Atalpatto
iosospendoilcorsoalliremie.Deltutto,
Aspasia,coldondellatuadestradehvienia
disarmarle.

95010MozartCompleteEdition
102

ASPASIA
Invantusperi,chiomicangi,oSignor.Prieghi
noncuroeminaccenontemo.Appien
comprendoqualsarilmiodestin;manol
paventachidaffrettarloard.
MITRIDATE
Pensaci:ancoraunmomentoapentirtitoffre
lamiapiet.
ASPASIA
Diquesta,oSire,cheinutileperme,provigli
effettilinnocentetuofiglio.Iltuofuroredime
quantogliaggradaomairisolva;maperdendo
chireaSifareassolva.
MITRIDATE
Sifare?Ahscellerata!Evuoichiocredafidoa
mechitipiacqueechituttoraoccupailtuo
pensier?No,locondannalatuastessapiet.Di
miavendettatecovittimaeisia.

ScenaIII
Recitativo
ARBATE
MioRe,taffrettaoasalvarti,oapugnar.Scesa
sullidolosteromanainunmomentoinfuga
letueschiereharivolte,eaquestemuragi
recaorridoassalto.
MITRIDATE
Avete,oNumi,pifulminiperme?Alladifesa
corrasi,Arbate.Deldisastromiotunon
godrai,donnainfedele:addio.

10.No.20Aria
Vadoincontroalfatoestremo,
crudociel,sortespietata;
mafrattantounalmaingrata
lombramiapreceder.
[parte,seguitodaArbateedalleguardiereali]

ScenaIV
11.Recitativo
ASPASIA
Lagrimeintempestive,achedalciglio
malgradomiscendeteadinnondarmiilsen?
Dibeolezzatempoornon.Conpicoraggio
attendailterminedemaliuninfelice:
Giquellultimoaddiotuttomidice.
[vieneunmoro,ilqualepresentaadAspasia
sopraunasottocoppalatazzadelveleno]
Recitativoaccompagnato

12.ASPASIA
Ahbennefuipresaga!Ildonoestremodi
Mitridateeccorecato.Odestra,temerai
dappressartialfatalnappotu,chearditaal
collomiporgestilefuni?Ehno,siprenda,
[Aspaisaprendeinmanolatazzaedilmorosi
ritira]
esiringraziildonator.Perluiritornoin
libert.Perluipossiodispordellamiasortee
nellatombacolfindellamiavitaquellapace
trovar,chemrapita.

No.21Cavatina
Pallidombre,chescorgete
dagliElisiimalimiei,
dehpietoseamerendete
tuttoilbenmchegiperdei.
Bevasi...
Aim,qualgelotrattienlaman?...
Qualbarbaraconturbaidealamente.In
questopuntoahforsebevelamortesuaSifare


ancora.Oh,immaginefunesta!Fiadunque
ver?No,linnocenzaiNumihasempreinsuo
favor.DEroesgrandevegliantuttiindifesa,e
sevincielochipursarmiinsuodanno,lire
nestinguerquesto,cheinseno
sacroaNemesiorversoatroveleno.
[inattodibere]

ScenaV
13.Recitativo
SIFARE
Chefai,Regina?
ASPASIA
Ah,seipursalvo?
Sifare[glilogliedimanolatazzaelagettaper
terra]
ASPASIA
Nonvedi,incauto,chepilungoilpenarforse
mirendi,enuovamenteilgenitoreoffendi?
SIFARE
SerbisiAspasiainvita,epoidelrestoabbian
curagliDei.Pertuacustodia,finchdurala
pugna,venganoquegliarmati.
ASPASIA
Emilascicos?
SIFARE
Doverpisacrodatelontano,ocara,iltuo
Sifareorchiama.AMitridateaccantolaroter
laspada,eibenchingiusto,ahipurm
padre!
Esenolsalvoancora,tuttohoperduto,edho
lavitaasdegno.
ASPASIA
Ohdipadremigliorfigliobendegno.
[parteseguitadasoldatisudetti]

ScenaVI
Recitativo
SIFARE
Chemivalquestavitaincuigodernonspero
unmomentodibene,incuideggioineterno
contrastofralamoreondeggiar,eldovermio?
Seancormelatogliete,iovisongrato,oDei.
Troppocompensaqueid,chioperdo,ilvanto
dimorireinnocenteechiinsembianzapu
chiuderglidEroevisseabbastanza.

14.No.22Aria
SIFARE
Seilrigordingratasorte
rendeincertalamiafede,
ahpalesialmenlamorte
diquestalmailbencando.
Dunavitaiosongistanco
chemesponealmondoinfaccia
adoverlindegnataccia
tollerariltraditor.
[siritira]

ScenaVII
Internoditorrecorrispondenteallemuradi
Ninfea.Farnaceincatenatoesedentesopraun
sasso.

15.Recitativo
FARNACE
Sortecrudel,stelleinimiche,ifruttisonquesti,
cheraccolgodasbellesperanze?Iopiregni
primogenitoeredesiedoadunsasso,einvece
dicalcarsoglioholacatenaalpiede?Ohcielo,
qualodo,strepitodarmi...[vedesiaprirenel

murounagranbreccia,percuientraMarzio
seguitodasuoisoldati].
Areplicaticolpiqualforzaesternaimuri
percosseedorgliatterra!Eeognoiomioo
vegliandovaneggio?Chepitemer,chepi
sperardeggio?

ScenaVIII
Recitativo
MARZIO
Tecoipatti,oFarnaceserbalafRomana.
[vienescioltoFarnaceeunRomanogliporge
larmi]
FARNACE
Ah,Marzio,amico,invanoiodunquenon
sperai...
MARZIO
Dalcampoincuideltuoperiglio,oprence,fui
spettator,uscitoappenaunlegnotrovoallido
evascendo.Arrideilventoallemiebrame
imapzianti.Alduceprimadellarmi,indi
asoldatiionarroilfieroinsulto,irischituoi.
Nefremequelpopoloderoi,chiedevendetta,
evolaperNinfeafuribondo.Invancontrasta
allosbarcoimprovvisoeilprimoiosonola
notatorreadassalir.Fugatisondaimerlii
custodiealgraveurtardelleferatetravicrolla
ilmuro,sifende,eunvarcoalfinemapron
liberoatequellerovine.
FARNACE
ohsempreinogniimpresafortunatoed
invittogenioroman!Mailpadre?
MARZIO
Oestinto,ovivo,sardallarminostreilpi
illustretrofeo.Detuoiseguacilostuoldisperso
intantosalvotiveggaetaccompagnialtrono,
dicuiRomailsuoamicooggifadono.

16.No.23Aria
MARZIO
Sediregnarseivago,
gipagoiltuodeso,
esevendettvuoi
dituttiitortituoi
datedipender.
Dichitivolleoppresso
gilasuperbiadoma,mercilvalordiRoma
mercquelfattoistesso
cheognortiseguir.
[partecolsuoseguito]

ScenaIX
17.Recitativo
FARNACE
Vadasi...Oh,Ciel,madovedpingolarditopi?
Ahvirisento;osacredinaturavocipossenti,o
fieririmorsidelmiocor.Empioatalsegno,no,
chiononsoneaquestotorno,Aspasia,
Romani,iovidetesto.

18.No.24Aria
Gidagliocchiilvelotolto,
viliaffettiiovabbandono:
sonpentito,enonascolto,cheilatratidelmio
cor.
Tempoomai,chealprimoimpero
laragioneinmeritorni;
giricalcoilbensentiero
dellagloriaedellonor.
[parte]

95010MozartCompleteEdition
103

ScenaX
Atrioterreno,corrispondenteagrancortile
nella
reggiadiNinfea,dacuisiscorgonoinlontanoi
navigliromani,cheabbrucianosulmare.
Nellaprirsidellascenaprecedutointantodalle
sueguardie,eportatosopraunaspeziedi
occhio
formatodallintrecciodivariscudisiavanza
Mitridateferito.GlivengonoalfiancoSifareed
Arbateelosiegueilrimanentedellemilizie.
MITRIDATE
Figlio,amico,nonpi.Lasortemiadallamor
vostroesigealtrochepianto.Semorte
intempestivatroncaidisegnimiei,sea
Mitridatespirarpinondato,comebram
dellarsaRomainseno,brandostraniero
almenononhalonordelcolpo.Eicade
estintomadisuamano,evincitor,nonvinto.
SIFARE
Perch,avversodestino,attosdisperato
prevenirnonpotei!
MITRIDATE
Pertempoancoragiungesti,ofiglio.Hannoi
mieisguardiestremilatuafrimirataeltuo
valore.Perteprostratealsuologiaccon
laquile
alterePressoacaderpocanzidelnemicoin
poterebbiinorrore,chepriamorir,che
dincontrarlaelessi.Potessialmen,potessi
egualpremioatantopre...

ScenaXI
19.Recitativo
MITRIDATE
Ah,vieni,odolce,dellamormiotenero
ogetto,escopodimiefurieinfelice.Adesseil
cielononinvantisotrasse,epuoitusola
scontargliobblighimiei.Scarsamercede
sarebbeaunfigliotalsecrettoecoronasenza
ladestratua.Dalgratopadrelabbiaegliin
dono,epossaeternooblofrattantocancellar
daivostricorilamemoriacrudeldemiei
furori.
ASPASIA
Vivi,oSignor,edadambialmenconserva,se
felicenevuoi,ilmaggiordognibennegiorni
tuoi.
MITRIDATE
Givissi,Aspasia.Omaiprovvedi,ofiglioalla
tuasicurezza.
SIFARE
Ahlascia,opadre,chepriasulreoFarnace
vadaapunir...

ScenaXII
Ismeneconfarnacechesigettaapiedidi
Mitridateedetti.
Recitativo
ISMENE
Reononsichiami,oSire,chirecaillustri
provealregiopiededelpentimentosuo,della
suafede.OprasondiFarnacequeglincendi,
chemiri.eglidiRomavolseindanno
quellarmiequellalibert,chebbedalei,n
pertornareinnanzicolbelnomedifiglioal
padreamatoebberossordidiventarleingrato.
MITRIDATE
Numi,qualnuovaquestagioiaperme!Sorgi,
oFarnace,evieniagliamplessipaterni.[sialza
Farnaceebacciaalpadrelamano)Girendoa


telatenerezzamia.Bastacos:morofelice
appieno.[vienportatodentrolascena]

20.No.25Quintetto
SIFARE,ASPASIA,FARNACE,ISMENE,ARBATE
Nonsicedaalcampidoglio,
siresistaaquellorgoglio,
chefrenarsiancornonsa.
Guerrasempreenonmaipace
danoiabbiaungenioaltero,
chepretendealmondointero
dinvolarlalibert.

ASCANIOINALBA(CD136138)
PartePrima(CD136)
Areaspaziosa,destinataallesolenniadunanze
pastorali,limitatadaunacoronadaltissimee
fronzutequerce,chevagamentedistribuite
allintornoconcilianounombrafreschissimae
sacra.Veggonsilungolaseriedeglialberiverdi
rialzamentiditerreno,presentatidallanatura,
einvariaformainclinatidallarteperusodi
sedervicongraziosairregolaritipastori.Nel
mezzosorgeunaltareagreste,incuivedesi
scolpitolanimalprodigioso,dacuisidice,che
pigliasseilnomelaCittdAlba.Daglintervalli,
chesapronofraunalberoelaltro,sidomina
unadeliziosa,eridentecampagna,sparsadi
qualchecapanna,ecintainmediocredistanza
damenecolline,ondescendonocopiosie
limpidirivi.Lorizzontevaaterminarein
azzurrissimemontagne,lecuicimesiperdono
inuncielopurissimoesereno.

ScenaPrima
Venereinattodiscenderdalsuocarro.
Ascanioalatodiesso.LeGrazie,equantitdi
Genichecantanoedanzanoaccompagnando
laDea.Scesaquesta,ilcarrovelatodauna
leggeranuvolettasidileguaperlaria.
1.Overture
2.Ballet
3.Geniegrazie
Ditepiamabile,
NDeamaggiore,
CelesteVenere
Nononsid.
Tuseidegliuomini,
ODea,lamore:
Ditesuagloria
IlCielsifa.
Segodeunpopolo
Deltuofavore,
Pidolceimperio
Cercarnonsa.
Confrensplacido
Reggiognicore,
Chepinonbramasi
Lalibert.

4.VENERE
(alsuoseguitochesiritiranellindietrodella
scena,disponendosivagamente):
Geni,Grazie,edAmori,
Fermateilpi,tacete,
Frenate,sospendete,
Fidecolombe,ilvolo:
QuestoilsacroalmioNumeamicosuolo.
Ecco,Ascanio,miaspeme,eccolepiagge,
Chevisitammoinsieme,

IltuogranPadre,edio.Queltempoancora
Conpiacermirammento.Ancoipresagi
Parverodisegnar,cheungiornofora
Delmiofavoreoggetto
Questopopoloeletto.
(Accennandolaltare.)
Inquellaltare
Vedilabelvaincisa,
Chedinsolitelaneornatailtergo
Anoicomparve.IlgrandEnealopose
Permemoriadelfatto:equindiilnome
PrenderlaCitt,choggidanoi
Avrillustreprincipio.Iofindallora
Quidelegraziemieprodigasono
Alpopolofelice:equilmiocore
Fasoventeritorno
Dalabeatasfera,ovesoggiorno.
Maquipresenteognora,
ConlamiaDeitregnarnonposso:
Tuquiregnainmiavece.Ilgrande,ilpio,
IltuobuonGenitor,chedIliovenne
Alespondelatine,orviveincielo
AltroDiofragliDi:
Esoavemiacuraoratusei.
ASCANIO
Madre,chetaltipiace
Esserdamechiamata,anzicheDea,
Quantotideggiomai!
VENERE
Giquattrovolte,ilsai,
CondusseilSolsuquestiverdicolli
IlpomiferoAutunno,
Dachealpopoloamicoildonpromisi
Delacaramiastirpe.Ognunoattende,
Ognunbramavederti:allareintorno
Ognunsupplicecade:eilbelmomento
Affrettaognunconcentovotiecento.

5.Lombraderamituoi
Lamicosuoloaspetta.
Vivimiapiantaeletta:
Degnasaraidime.
Giquestocorcomprende
Quelchesaraidipoi;
Gidisuecureintende
Lopralodarsiinte

6.ASCANIO
MalaNinfagentil,cheilsemeonora
DErcoleinvitto...?Ahd...,laSposamia,
Silvia,Silviadov?Tantodilei
Tuparlastialmiocor;tantolafama
Nempiesuatromba,etantobeneaspetta
DalemienozzeilMondo...
VENERE
AmataProle
PriachesascondailSole
SpososaraidelapisaggiaNinfa,
Chedisanguedivinnascessemai.
Gisuiraggidellalbainsonnoapparvi
AdAcestecustode
DelaVergineillustre.Egligiscende
Dalsacroalbergo:ealpopolofelice,
EalaNinfatuobene,
Delfaustoannuncioapportator
quiviene.
ASCANIO
AhcaraMadre...Dimmi...
Dunquevicinalora...?
Machisa,sellamami?

95010MozartCompleteEdition
104

VENERE
Ellatiadora.
ASCANIO
Semaipinonmivide!
VENERE
Aleisonnote
Letuesembianze.
ASCANIO
Ecome?
VENERE
Amor,percennomio,
Ordnobileinganno.
ASCANIO
Echemaifece?
VENERE
Volgeilquartannoomai,
ChedelaNinfaalato
Amorvegliaintuavece.Eiletueforme
Vesteappuntoqualte.Talilegote,
Tailelabbraeleluci,etailechiome,
Taleilsuondelevoci.Appuntocome
Lunallaltracolomba
Delmiocarrosomiglia,
TaleAmortisomiglia.
ASCANIO
Equale,oDea
PressoallamataNinfa
lufficiodAmore?
VENERE
Insonnoalei
Mistotralievisogniappareognora.
Testessoaleidipinge:etalneingombra
Lagiovinettamente,
Chete,vegliandoancora,
Lavagafantasiasemprehapresente.
ASCANIO
Cheleggiadroprodigio
Tumisveli,ogranDea!Machepitardo?
VoliamdunquealaNinfa.Apiedisuoi
Giurarvolamiaf...
VENERE
Solotudevi
Ireintracciadilei;
Mechiamanaltrecure:
NonsolounMortalcaroagliDi.
ASCANIO
S,ledirchiosono
Ascaniosuo;chequestocorladora;
ChedicelesteDiva
Stirpesonio...
VENERE
No,nonscoprirtiancora.
ASCANIO
Ociel!perch?
VENERE
Tufida.
Vedilapur;mataci
Chitusei,dondevieni,
echitiguida.
ASCANIO
Chesilenziocrudel!
VENERE
Dimmi,nonbrami
Vedercongliocchituoifinoaqualsegno
Silviatadori?aqualsublimearrivi
Lasuavirt?quantosiadegnooggetto
Damor,dimeraviglia,edirispetto?
Questadunquelavia.
ASCANIO
Dunquesadempia,
OMadre,iltuovoler.Giurocelarmi


Fincheatepiace.Oggimostrartivoglio
Sindoveanchiosondubbidircapace.
VENERE
Vienialmioseno.Aquelladocilmente,
Aqueltenerocoreaquelrispetto,
ChenutripergliDi,tiriconosco
Prolepidegnaognora
EdelPadre,edime.Quiframomenti
Mirivedrai.DelatuaSposaintanto
Cautoricerca:ammira
Comedibeicostumi
Atepertempoordisce
Latuafelicit,comeconlei
Nelamirabilopra

Elarte,elanatura,
eilcielsadopra.
(Inattodipartire.)

7.GENIeGRAZIE
Ditepiamabile
NDeamaggiore,
CelesteVenere
Nononsid,
(ParteVenereseguitadalcoro,checanta,
eledanzaintorno.)
Confrensplacido
Reggiognicore,chepinonbramasi
Lalibert.

ScenaSecondaAscaniosolo.
8.ASCANIO
Perchtacerdeggio?
Perchignotovolermiallidolmio?
Cheduralegge,oDea!
Midestiinseno
Tulefiammeinnocenti:igiustiaffetti
Sollecitifomenti:ealeivicino
Nelpilucidocorsoilmiodestino
Improvvisasospendi?...
Ahdalmiocorqualsagrifizioattendi...?
Perchtacerdeggio
Perchignotovolermiallidolmio?
Folle!Chemaivaneggio
So,chemamalaDea:mifidoalei
Dehperdonami,oMadre,idubbimiei.
MalaNinfadov?Traquesterive
Chimadditailmiobene?Ahscormio
Loscoprirembennoi.Doveinunvolto
Tuttiapparirdelavirtvedrai
Ipilimpidirai:dovecongiunte
Facilemaest,gravedolcezza,
Ingenuasicurezza,
Ecelestepudore:oveinduelumi
Tuvedraisfolgorardunaltamente
Legraziedelicate,eilgenioardente,
LvedrailamiaSposa.Ateildiranno
Ipalpitisoavi,imotituoi:
Ahscormiolascoprirembennoi.
9.Cara,lontanoancora
Latuavirtmaccese:
Altuobelnomeallora
Appresiasospirar.
Invanticeli,ocara:
Quellavirtsirara
Nellamodestiaistessa
Piluminosaappar.

ScenaTerzaPastori,AscanioeFauno.
10.PASTORI
VengadesommiEroi,
Vengailcrescenteonor.

Pinonsinvolianoi:
Quiloincateniamor.

11.ASCANIO
(ritirandosiindisparte):
Maqualcantorisona?
QualturbadiPastormiveggiointorno?
FAUNO
(nonbadandoadAscanio):
Quidoveillocoelarte
Aprecomodospazio
Aisolenniconcili,alsacrorito,
QuiveniteoPastori.Ilgiornoquesto
SacroalanostraDiva.Alsuobelnome,
NonaBacco,eaVertunno,
Rendergrazievolgiamo
PressoalcaderdelfortunatoAutunno.
IlMinistrodelcielo,ilsaggioAceste,
Sembra,chetardi.Ingranpensieriavvolto
Purdianziilvidi.Aluisplendearidente
Duninsolitagioiailsacrovolto.
Forseildonopromessoanoivicino;
ForselaDeapietosa
DelfidoPopolsuocompieildestino.

12.PASTORI:
VengadesommiEroi,
Vengailcrescenteonor.
Pinonsinvolianoi:
QuiloincateniAmor.
(Ilcorosiedelungoleseriedegli
alberidisponendosivagamente.)

13.FAUNO
(volgendosiadAscanio):
Matuchisei,cheignoto
Quitaggirifranoi?Queltuosembiante
Purmifasovvenir,quandoalcunDio
Traimortalidiscende.Equaldesio
Ticonducefranoi?
ASCANIO
(accostandosiaFauno):
Straniersonio.
Quavaghezzamiguida
Divisitareivostricolliameni,
Ipuristagni,eperilverdepiano
Questevostrefecondeacquecorrenti.
Travoi,beategenti,
FamanelLazio,cheNaturaamica
Tuttiraccolgaibeni
Checollaltredivide.
FAUNO
Ah!pideggiamo
AlfavordunaDiva:enongiquale
Irreverenteilvolgo
TalorsognagliDi,maqualincielo
AlmafigliadiGiove.Ilsuosorriso,
Dallamorosocerchio,ondeneguarda
Questosuolrasserena.Ellaquebeni,
Chenaturanedi,cura,difende
Gliaddolcisce,gliaumenta.Inquesticampi
Seminalagio,eseco
Lalmafecondit.Nelecapanne
Guidalindustria;einlibertmodesta
Latrattien,lafomenta.Ilsuofavore
lanostrarugiada:eilumisuoi
Pariallocchiodelsolsonopernoi.

14.Seillabbropinondice,
Nongiudicarloingrato.
Chiatantobenenato

95010MozartCompleteEdition
105

Sabenquantofelice,
Mapoispiegarnolsa.
QuandoagliAmicituoi
Tornisulpatriolido,
Vivi,eraccontapoi:
Hovistoildolcenido
Delaprimieraet.

15.ASCANIO
(Quantosoavialcore
Delatuastirpe,oDea
Sonanmaiquestelodi!)
FAUNO
(guardandodaunlatonellinterno
dellascena):
Ecco,Pastori,
(IlCorosialza,esiavanza.)
Eccolentodalcolle
IlvenerandoAceste;alpardilui
EccoscendelaNinfa...
ASCANIO
Ohciel,qualNinfa?
Parla,dimmi,oPastor...
FAUNO
Silvia,dAlcide
Chiarastirpedivina.
ASCANIO
(Ahimcormio
Frenagliimpetituoi:
LadoratamiaSposaeccovicina.)
FAUNO
(accennandoadAscanio,ilquale
purestaattentamenteguardando
dallostessolato):
Mira,oStranier,comeilbel
passomove
Maestosa,egentile:aleseguaci
Comeumanasorride
Cometralordivide
Iguardi,eleparole.Inquebegliatti
Nonpar,chescoltasia
Laltezzadelpensiero,ediquellalma
Lasoavearmonia?
ASCANIO
(vero,vero.
Piresisternonso.Sequilattendo,
Scoprolarcano,ealgiuramentoiomanco.
Partasiomai.)
FAUNO
Garzone,atenonlice
Quirimaner,chelamodestaSilvia
Nonvorriatestimondesuoipensieri
Unignotostraniere.Esedeso
Dammirarlavicino,ealpatriosuolo
Famaportardepregisuoitaccese,
Lconfusoticela.
(AccennandoilCorodePastori.)
ASCANIO
Sadempiailtuovoler,pastorcortese.
(Siritira,esisupponeconfusofrailCoro.)
(IlCorosavanzadaunlatoallavolta
diAceste,ediSilvia.)

ScenaQuartaAscanioeFauno,Pastorie
PastorelleoNinfe,Silviaconseguitodi
Pastorelle,Aceste.
16.PASTORIePASTORELLE
HaidiDianailcore,
DiPalladelamente.
SeidellErculeagente,
SaggiaDonzella,ilfior.


Ivaghistudielarti
Sontuodiletto,evanto:
EdelleMusealcanto
Prestilorecchioancor.
Haneltuocoreilnido
Ognivirtpibella:
Malamodestiaquella
Chevirisplendeognor.

17.ACESTE
OhgenerosaDiva,
Ohdeliziadegliuomini,ohdelcielo
Ornamentoesplendor!chepipotea
Questosuolfortunato
Aspettarsidate?Qualpitiresta,
Fidopopoldevoto,
PerlasuaDeitpreghiera,ovoto.
Ognicosacompiuta.
DellIndigeteEnea
LasospirataProle,
VostrasarpriachetramontiilSole.

18.PASTORI
VengadesommiEroi,
Vengailcrescenteonor.
Pinonsinvolianoi:
QuiloincateniAmor.

19.ACESTE
DipropriamanlaDea
Avoiladoner.Nbastaancora.
Quinovellacittsorgervedrete
DelaDiva,edelFigliooprasublime.
Questipoverialberghi,
Questecapanneanguste
Fienoeccelsipalagi,emoliauguste.
Altredellampiemoli
SaransacrealeMuse:altrecustodi
Deleprischememorieaidventuri:
Altreaimiseriasilo:
Altrefrenoagliaudaci:altretormento
Alaprogeniereadelmostroorrendo,
Chegiinfamia,espavento
FudeboschiAventini,
Eperigliofunestoanoivicini.

20.PASTORI
VengadesommiEroi,
Vengailcrescenteonor.
Pinonsinvolianoi:
QuiloincatenaAmor.

(CD137)
1.ACESTE(rivoltoaSilvia):
Ohmiagloria,ohmiacura,ohamatopegno
DelastirpedAlcide,ohSilviamia,
OggiSposasarai.OggidAscanio
Ilconfortosarai,lamor,laspeme:
Ambidiquestosuolo
Ladelizia,eilpiacersareteinsieme.

2.Perlagioiainquestoseno
Lalma.ohDio!balzarmisento.
Alleccessodelcontento
Noresisterenonsa.
Silviacara,amicimiei,
Seconmefelicisiete,
Ahvenite,dividete
Ilpiacer,cheincormista.

3.SILVIA
(Misera!chefar?)NarramiAceste,
Ondesaituttoci?
ACESTE
LaDeameldisse.
SILVIA
Quando?
ACESTE
Nonbeneancora
Sitingevanlerose
Delapassataaurora.
SILVIA
Echetimpose?
ACESTE
Davvertirnetestessa,
DavvertirneiPastori:epoidisparve
Versandodalbelcrindiviniodori.
SILVIA
(Ahchepifarnonso.Taccio...?
miscopro...?)
ACESTE
(MalaNinfasiturba...?
Numi!Chesarmai...?)
SILVIA
(No,chenonlice
Insimiluopoallanimeinnocenti
Celargliaffettiloro.)OdimiAceste...
ACESTE
Cieli!Chedirmivuoi?
Qualduoltiopprimeinsfeliceistante?
SILVIA
Padre...OhNumi..!Chepena..!
Iosonoamante.
ACESTE
(Ahim,respiroalfine.)
Etiaffanniperci?Nondamore
DegnoiltuoSposo?Ocredi
Colpalamarlo?
SILVIA
Anzi,qualNume,oPadre,
Lorispetto,elonoro.Ipregisuoi
Tuttihofissinellalma.Ognunfavella
Disuevirt.ChicaroaMarteilchiama,
ChidilettodUrania,echilappella
DeleMusesostegno:
Chinesaltalamano,echilingegno.
DelsuogranPadreinlui
Ilmagnanimocorchidiceimpresso;
ChidelaDeaceleste
Limmensacarittrasfusainesso.

4.S,madunaltroAmore
Sentolafiammainpetto:
Elinnocenteaffetto
Soloaregnarnon.

5.ACESTE
Ahno,Silviatinganni
Innocentechesei.Giperlunguso
Iopiditelatuavirtconosco.
Spiegailtuocore,oFiglia,
Ealtuofidocustodeorticonsiglia.
SILVIA
OdiAceste,estupisci.Ildvolgea,
Chelamiafdonai
DesserSposadAscanioallalmaDea.
Milleimaginiliete,
Cheaveancolordaquelfelicegiorno,
Venianvolandoalamiamenteintorno.
Edellaindolcesonno
Sobliavainnocentepredaaloro;

95010MozartCompleteEdition
106

Quandecco,ohCielo!ame,
nonsosedesta.
Comparveungiovinetto.Ilbiondocrine
Sultergoglivolava;emistaalgiglio
Nelaguanciavezzosa
Glifiorivalarosa:ilvagociglio...
Padre,nonpi,perdona.
Lindiscretopensier,parlandoancora,
Vadietroalelusinghe
Dellimagingentil,cheloinnamora.
ACESTE
(Cheamabilecandor!)segui,cheavvenne?
SILVIA
Ahdaquelgiornoillusinghiersembiante
Regnnelpettomio;dismaccese;
Imieipensierieisolo
Tuttioccuparpreteseisonnimiei
Dissoloingombr.DaunlatoAscanio,
Lacuisembianzaignota,
Malavirtmnota,
Meraviglia,erispettoalcorminspira:
Dallaltropoilimaginatooggetto
Tenerezza,edamormidestainpetto.
ACESTE
No,figlia,nontemer.Sentilamano
DelapietosaDea.Questabellopra
Opradilei.
SILVIA
Chedici?
Come?parla,chefia?
ACESTE
PiacquealaDiva
Distringereilbelnodo:inogniguisa
Vidisponeiltuocore,einsentipinge
LesembianzedAscanio.
SILVIA
Ecomeilsai?
ACESTE
Sentocheincormiparla
Unsentimentoignoto,
Latuavirtmeldiceemassicura
IlfavordelaDea.
SILVIA
Numi!chifia
Pidimefortunata?OhAscanio,ohSposo!
Dunqueperte,mioBene,
Lamorosodeso
Siraddoppiacosdentroalcormio?
AmoadunqueilmioSposo
Quandounbelvoltoadoro?
Amoluistesso,
Quandomillevirtpregio,edonoro?

6.Comefelicestato,
Quellodunalmafida,
Oveinnocenzaannida,
Enoncondannaamor!
Delviversuobeato
Semprecontentalalma:
Esempreindolcecalma
Vapalpitandoilcor.

7.ACESTE
Silvia,mira,cheilsoleomaisavanza
Oltreilmeriggio.tempo,
Chesiprepariognuno
AdaccoglierlaDea.SuviaPastori
Acoronarciandiamdifrondi,efiori:
TuconaltriPastorFaunoraccogli
Vaghirami,eghirlande;equilereca,
Ondesiaillocoadorno


Quantosipupernoi.Tuancorprepara
Partedecarifrutti,ondesullara
Conleodorategommeardanvotivo
SagrificioalaDea,cheanoilidona.
Sequestodfestivo
Ogniannoalsuogrannome,orchesideve,
Quandosfaustaanoi
Recailmaggiordebeneficisuoi?

8.PASTORI
VengadesommiEroi,
Vengailcrescenteonor.
Pinonsinvolianoi:
QuiloincateniAmor.
(PartonotuttifuorchAscanio.)

ScenaQuintaAscanio,epoiVenereeCorodi
Geni.
9.ASCANIO
Cielo!chevidimai?qualeinnocenza,
Qualeamor,qualvirt!Comenoncorsi
AlpidiSilvia,apalesarmialei?
Ahquestavolta,oDea,quantopenoso
Lubbidirtimifu.Vieni,edisciogli
Questofrenocrudele...
(VeneresopraggiungecolCorodeiGeni.)
VENERE
Eccomiofiglio!
ASCANIO
Lascia,lascia,chiovoli
Oveilridentefato
Mirapisce,mivuol.Queldolceaspetto,
Quelcandor,quellaf,quantorispetto
Minspiranonellalmaequanti,ohDio
Quantimanticisonoalmiodesio!

10.Ahdisnobilalma
Quantoparlarvorrei!
Selevirtdilei
Tuttesaperpretendi,
Chiedileaquestocor.
Solounmomentoincalma
LasciamioDiva,epoi
Ditantipregisuoi
Potrparlartiallor.

11.VENERE
Unaltraprovaatemirarconviene
DelavirtdiSilvia.Ancorperpoco
Soffrimiaspeme.Appena
Quifialapastoralturbaraccolta
Chedimiagloriaavvolta
Comparirmivedr.Restano,oFiglio
Restanoancorpochimomenti,epoi...
ASCANIO
Chenonpretendi,oDea!
Daunimpazientecor.Masiachevuoi!
VENERE
(accennandodaunlato):
LdovesaleilColle
FinchtorniquaggiSilviailtuobene,
Ricovrianciperora!Inquestopiano
Delanovacittleprimemoli
Sorganointanto,edeministrimiei
Lopravisudi.Auspicinoidallalto
Domineremsulopra:equatornando
Lapastoralfamiglia,
Navrinsiemeconforto,
emeraviglia.
Ol,Genimeifidi,
Delecelestiforze

Accoglieteilvalor.
Quidelmiosangue
Sorgailfelicenido;edAlbailnome
Suonifamosopoidilidoinlido.
Etumiogermeintanto
Amirartipreparainquelbelcore
Divirtudeiltrionfo,equeldamore.

12.Alchiarordiquebeirai,
Selamorfomentalali
Adamartuttiimortali
Iltuocorsollever.
Cospoifamosoandrai
DegliDitraichiarifigli,
Cosfia,chetusomigli
Alamiadivinit.

13.GENIeGRAZIE:
Ditepiamabile,
NDeamaggiore,
CelesteVenere,
Nononsid.
Confrensplacido
Reggiognicore,
Chepinonbramasi
Lalibert.
(MoltiPastori,ePastorelle,secondo
lantecedentecomandodAceste,vengonper
ornarsolennementeilluogodighirlande,e
difiori.Mamentrequestisiaccingono
allopera,eccochecomparisconoleGrazie
accompagnatedaunaquantitdiGeni,edi
Ninfecelestiinattodimeditarequalche
grandeintrapresa.IPastoririmangonoa
talevedutaestremamentesorpresi:senon
che,incoraggiatidallagentilezzadiquelle
personecelesti,tornanoallincominciato
lavoro.Maassaipigranderinasceinessi
lameraviglia,quandoaduncennodelle
Grazie,edeGeni,veggono
improvvisamentecambiarsiitronchidegli
alberi,chestannoadornandodighirlande,in
altrettantecolonne,lequaliformanodimano
inmanounsolido,vagoericcoordine
darchitettura,concuidassiprincipio
alledificazionedAlba,esiprometteunfelice
cambiamentoalpaese.Questiaccidenti,
congiunticongliattidammirazione,di
riconoscenza,ditenerezza,diconcordiafra
lecelestieleumanepersone,fannolabase
delbreveBallo,chelegalanterioreconla
seguentepartedellaRappresentazione.)

ParteSeconda
ScenaPrimaSilvia,CorodiPastorelle.
14.SILVIA:
Starlontananonso,compagneNinfe,
Daquestoamicoloco.
Ahquivedrfrapoco
LadoratomioSposo,lalmaDea,
Chedisualucepura
Questilidibeatiorna,ericrea.
Maciel!Cheveggiomai!Mirate,amiche,
Comerisplendeintorno
Discoltimarmi,edicolonneeccelse
Ilsacrolocoadorno.Ahsenzafallo
Questoildivinlavoro.
Iltempo,elopra
Demortalinonbastaatantaimpresa.
Sento,sentolamano
DelapropiziaDea.Loriginquesta

95010MozartCompleteEdition
107

dellalmaCitt,cheanoipromise:
Questamirabilprova
Delavenutasua.Frapochiistanti
Delefeliciamanti
Lapilietasar.Gidalloccaso
Ilsolmiguarda;epare
Pilucidochemaiscendernelmare.

15.Spiegaildeso,lepiume:
Volailmiocore,egeme;
Masoloconlaspeme
Poimiritornaalsen.
VienicolmiobelNume
Alfineomiodeso
Dimmiunavolta,ohDio!
Eccolamatoben.
(SiededaunlatoconlePastorelleintorno.)

16.PASTORELLE
Giloresenvolano,
Givieneiltuobene.
Fradolcicatene
Quellalmavivr.
(IlCorosiede.)

ScenaSecondaSilvia,CorodiPastorelle,
Ascanio.
17.ASCANIO
(nonvedendoSilvia,das):
Cercodilocoinloco
LamiaSilviafedele;epurnonlice
Questoamantecormiosvelarealei;
ChmelvietalaDiva.
AdoratamiaSposa,ahdovesei?
Lascia,lascia,chepossa
Questomiocor,chedetuoimertipieno,
Celatoammiratorvedertialmeno.
(VedendoSilvia,das):
ManonSilviaquella,
Chelsiposasuquelverdeseggio,
ConlesueNinfealato...?Iononminganno.
Certoilmiobene,desso.
Numi!chefo...?mappresso...?

18.SILVIA
(vedendoAscanio,das):
Ohciel!Chemiro...?
QuegliilGarzon,dicuiscolpitahoinseno
Limaginviva...
ASCANIO
Ah!Sepotessialmeno
Scoprirmialei...
SILVIA
Cosmappareinsogno...
Coslhaognorpresente
Neldolceimmaginarquestamiamente.
Chefia...?Sogno...?Osondesta...?
ASCANIO
OhMadre,ohDiva!
Qualviacrudelditormentarmiquesta?
SILVIA
No,pisognonon:quellosembiante
Chedagrantempoadoro...
Ascaniodunque...?
Opursondaltriamante...?
Dubitoancor....
ASCANIO
LaNinfa
Agitatamipar...Miriconosce,
Mascoprirsinonosa.


SILVIA
Ahsilmiobene,
IlmioSposotusei.
(Alzandosiefacendoqualchepasso
versoAscanio.)
ASCANIO
Cieli!saccosta:
Comepotrnonpalesarmialei!
SILVIA
Imprudente,chefo?
Spontanea,esola
Appressarmivoglio?
(sarresta)
Secononveggio
LaDea,cheilguida...
Eglidimenonchiede...
MecoAcestenon...Dovetavanzi
Trasportatodalcoreincautopiede?
Ingannarmipotrei...

ScenaTerzaSilvia,Ascanio,corodiPastorellee
Fauno.
19.FAUNO
Silvia,Silvia,ovesei?
SILVIA
(accostandosiaFauno):
Fauno,chebrami?
FAUNO
(aSilvia):
Ioditecerco,oNinfa,
(adAscanio,chesiaccostadallaltrolato):
Eatepurvengo,
Giovanettostraniere.
SILVIA
(Eglistranier,qualsembra:ahcertodesso,
CertoloSposomio.)
(AFauno):
Pastor,favella.
FAUNO
(aSilvia,scostandosiAscanio):
AteAcesteminvia:ditechiedea:
Quicondurtieivolea.Digisisente
LagranDivapresente.Inogniloco
Spargelasuavirt.Vediquellopra
Chemirabilsinnalza?iGenisuoi
Lacrearonpurdianzi.Io,eiPastori
Nevedemmoillavoro
Mentrequarecavamghirlande,efiori.
CinarrammoadAceste:
edeglianoi
Meraviglienovelle
Nemostrdogniparte.Ohsevedessi!
Silvia,sulsacroalbergo,
Ovesecodimori,unagranluce
Piove,esfavillaintorno,epar,cherieda
Priadimorirversolaurorailgiorno.
Tuttoilpendiodelcolle,
Ondequaggisiscende,
Difiorvernali,edinovelligermi
Tuttosicopre.Perlaviarisplende
Unignotoelemento
Dirutilevivissimescintille,
Ondeapertosivede,
Chevolsuquelsuoloildivinpiede.
Matroppotardoomai.
SILVIA
(Quantotideggio
AmorosaDeit!)
FAUNO
VoloadAceste:
(aSilvia,accennandodipartire):

Dir,chepidilui
Fusollecitoamore...
ASCANIO
(accostandosiaFauno):
Edameancora
NonvoleviparlargentilPastore?
FAUNO
(adAscanio):
Ahquasilobliai.
Garzon,miscusa
Indcosridente
Leccessodelpiacer
turbalamente
AdAcestenarrai
Comequiticonobbi,etilasciai.
ASCANIO
Echeperci?
FAUNO
Sorrise
Lampeggiandodigioiailsacroveglio.
LevlemanialCieloepalpitando:
Sento,midisse,unnonintesoaffetto
Tuttoagitarmiilpetto...
SILVIA
(OhcaroSposo!
Nonnedubitopi.)
FAUNO
Vanne,soggiunse,
Cercadellostraniere.
SILVIA
IlsaggioAceste
Nellindovinamente
(Tuttosa,tuttovede,etuttosente!)
ASCANIO
Chevuoldunquedame?
FAUNO
Permetiprega,
Cherimanghitranoifinchsisveli
AnoilanostraDea.Vuolchetusia
Defavoridilei,
DefeliciImeneidelnostrobene
Nunciofedelealerimotearene.
SILVIA
(Ohmeinfelice!Aceste
DunqueAscanionolcrede!)
ASCANIO
(Ahim,chedico?
Ohduralegge!)
FAUNO
(adAscanio):
Echerispondialfine?
ASCANIO
Cheubbidir...ChedelfeliceSposo
Ammirerildestin...
SILVIA
(Misera!OhNumi!
DunqueAscanionon.Chefierocolpo!
Chefulmineimprovviso!)
(SiritiraesisiedeabbattutafraleNinfe
versoilfondodellaScena.)
ASCANIO
Alfin,Pastore,
D,chelattendo.
FAUNO
Edio
Tostomenvoloadaffrettarlo.
Addio!

(CD138)
1.Daltuogentilsembiante
Risplendeunalmagrande:

95010MozartCompleteEdition
108

Equelchiaror,chespande
Quasiadorartifa.
Semaidivieniamante
FelicelaDonzellaCheafiammacosbella
Allorsaccender.
(Parte.)

ScenaQuartaSilvia.CorodiPastorellee
Ascanio.
2.ASCANIO
(guardandoaSilvia):
Ahim!
Cheveggiomai?
Silviacolsigiace
Pallidasemiviva
AlesueNinfeinbraccio.
Intendo,ohDio!
Ardedelvoltomio:enonmicrede
IlsuopromessoAscanio.
Lavirtude,elamore
Fannoatrocebattagliainquelbelcore.
Edalpenosoinganno
Liberarlanonposso...Agliocchisuoi
Sinvolalmenquesto
affannosooggetto
FinchvengalaDea.Colmicelo:
Enonlontandalei
Udrlesueparole
Pascernelsuovoltoiguardimiei.

3.Almiobenmiveggioavanti,
Delsuocorsentolapena,
Elaleggeancormifrena.
Ahsirompailcrudolaccio,
Abbastanzailcorsoffr.
Sepietdellalmeamanti
BellaDivailsentimove,
Nonvolerfratanteprove
Agitarleognorcos.
(SiritiradallaScena.)

4.SILVIA
(accorrendoadAscanio,epoi
trattenendosi):
Ferma,aspetta,ovevai?dovetinvoli?
Perchfuggicos!Numi!chefo...?
Dovetrascorroahim...?comesoblia
Lamiavirt...!S,sirisolvaalfine.
Rompasialfinquestofallaceincanto.
Perch,perchmivanto
ProledeNumi,eunasognataimago
Travaquelcorchealsoldoveresacro,
Esacroalavirt...?Manonvidio
Lesembianzeadorate
Purorcongliocchimiei...?No,nonimporta.
SoldAscaniosonio.Dalorsifugga.
SeilCielcosmiprova,
Mirilamiavittoria...EseilmioSposo
Fossequel,chorvidio...?Ah!milusingo.
Perchinsdolceistante
Nonpalesarsiame?perchmentirsi,
Estraziarmicos...?No.miseduce
Lingannatomiocore...Esancocifosse
VeggachesoluistessoSagrificarealui,
Elamatosembianteaimertisui.
AhsicorraadAceste:
Involiamcidiqui.Grandequalsono
StirpedeNumialcomunbenmideggio.
FuorchlAlmadAscanio,
altrononveggio.


5.Infeliciaffettimiei,
Solpervoisospiro,epeno,
Innocentequestoseno:
Nolveniteatormentar.
Ahquestalma,eterniDei,
Mirendetealfinqualera.
Pilimaginlusinghiera
Nonmitorniadagitar.

6.ASCANIO
(accorrendoaSilvia):
Animagrande,ahlascia
Lascia,ohDio!chealtuopi...
SILVIA
(partendorisoluta):
Vanne.Amieilumi
Tinascondipersempre.
IosondAscanio.
(Parte.)
PASTORELLE
Chestranoevento
TurbalaVergine
Inquestod!
No,nonlasciamola
DovesrapidaFuggecos.
(Partono.)
SCENAQUINTA
Ascaniosolo.

7.ASCANIO
Ahilacrudelcomescoccatodardo
Sinvoldalmiosguardo!Incauto,edio
Quasidifmancai.
Chiatanteprove,oDea,
Damore,edivirtreggerpotea?
Disgrandono,oMadre,
Riccomifai,chepinonpumortale
DesiardagliDi:evuoi,chiosenta
Tuttoilvalordeldono.Ahs,miaSilvia,
Troppo,troppomaggiore
Seidelafama.Oraituoipregiintendo:
Orlaricchezzamiatuttacomprendo

8.Tornamiobene,ascolta.
Iltuofedelsonio.
Amamipurbenmio:
No,nontingannaAmor.
Quella,cheinsenoaccolta
Serbivirtsrara,
Agareggiarprepara
Collinnocentecor.
(Siritiraindisparte.)

ScenaSestaAscanio,Silvia,Aceste,Fauno,
CorodiPastoriediPastorelle,poiVenere,e
CorodiGeni.
9.PASTORI
VengadesommiEroi,
Vengailcrescenteonor.
Pinonsinvolianoi:
QuiloincateniAmor.

10.ACESTE
(aSilvia,chetienegraziosamente
perlamano):
Chestranameraviglia
Deltuocorminarrasti,amatafiglia!
Mapurnonsotemer.Serbaicostumi,
Cheserbastifinora.Ilcieldinoi
Spessofaprova:edai
contrastiillustri

Ondeagitatasei,
Quellavirtnedesta,
CheimortalitrasformainSemidei.

11.Sento,cheilcormidice,
Chepaventarnondei:
Mapenetrarnonlice
Dentroallascosovel.
Sai,cheinnocentesei,
Sai,chedalCieldipendi.
Lietalasorteattendi,
ChetiprescriveilCiel.

12.SILVIA
S,Padre,alfinmitaccia
Ognaltroaffettoinseno.
Seguachevuol,purchil
doversifaccia.
ACESTE
(aiPastori,cheraccoltiintornoallora
vardonolincensi):
S,feliciPastori.Airitivostri
Dateprincipio;elapietosaDea
Invocateconglinni.

13.PASTORIeNINFEOPASTORELLE:
ScendicelesteVenere;
Edeltuoamoreinsegno
Lascianeildolcepegno,
Chesospirammoognor.

14.SILVIA
Masallontanialmendagliocchimiei
Quelperigliosooggetto.Ilvedi?
(AccennandoAscanio.)
ACESTE
(guardandoAscanio):
Ilveggio.
ParmisimileaunDio.
ASCANIO
(Silviamiguarda:
Checontrastocrudel!)
ACESTE
Nocarafiglia,
No,nontemer.Seguila
grandeimpresa,
Vedicheilfumoascende,
elaraaccesa.
Osservate,oPastori.
EccoscendelaDea.
(Comincianoascenderedelle
nuvolesopralara.)
Traquellenubi
SinascondelaDea.OhSilviamia,
Mecoallarativolgi:evoiPastori,
Delepreghiereardenti
Rinnovateiclamori.

15.PASTORIePASTORELLE
No,nonpossiamovivere
Inpifeliceregno.
Masenzaildolcepegno
Nonsiamcontentiancor.
(Lenubisispandonoinnanziallara.)

16.ACESTE
Eccoingombranlaltare
Lefaustenubiintorno.Eccolaluce
DelaDivapresente,eccotraspare.
(Siveggonouscirraggidilucedalle
nuvole.)

95010MozartCompleteEdition
109

17.PASTORIeNINFEOPASTORELLE
ScendicelesteVenere;
Edeltuoamoreinsegno
Lascianeildolcepegno,
Chesospirammoognor.

18.ACESTE
Invoca,ofiglia,invoca
IlfavordellaDiva:
ChiediloSposotuo.
SILVIA
Svelati,ODea,
Scopriallafinquelladoratoaspetto
Altuopopoldiletto.Omaicontento
Rendiquestocormio.
(Sisquarcianolenuvole.SivedeVenereassisa
sulsuocarro.Nellostessotempoesconodi
dietro
allenuvoleleGrazie,eiGeni,checonvaga
disposizionesispargonoperlaScena.)
ASCANIO
(sivaavvicinandoaSilvia):
(Orfelicesonio.Questoilmomento.)
SILVIA:
OhDiva!
ASCANIO
(siaccostadipi):
Ohsorte!
ACESTE
Ohgiorno!
SILVIA
(adAscanio,chesiaccosta):
Ahmipersegui,
Imaginecrudele,insinoallara?
(RisolutamenteguardandoVenere,ecolla
manofacendosiveloagliocchi,pernon
vederAscanio):
QualilmioSposo,oDiva?
VENERE
(accennando,epigliandoperunamano
Ascanio,ilpresentaaSilvia):
Eccolo,ocara.
SILVIA
(volgendosiadAscanio):
OhCielo!Perchmai
Nasconderticos?
ASCANIO
(aSilvia):
Tuttosaprai.

19.SILVIA(accorrendoadAscanio)
AhcaroSposo,ohDio!
ASCANIO(accorrendoaSilvia)
Vienialmiosen,benmio.
SILVIA(adAceste)
Ahchiolocredoapena.
Forsemingannoancora?
ACESTE(aSilvia)
Frenailtimor,dehfrena:
ElagranDivaadora.
ASCANIO
Chebelpiacereiosento
Insbeatod.
ACESTE
(aSilvia,eadAscanio)
Delavirtilcimento
PremiangliDicos.
SILVIA
Numi!chebelmomento!
Comeinsbelcontento


Ilmiotimorfin!
ASCANIO
AhcaraSposa,ohDio!
SILVIA
AhcaroSposo,ohDio!
(Abbracciandosirispettosamente.)
SILVIA,ASCANIOeACESTE:
Pisacronodointerra,
Pidolceamornon.
QuantopietosaDea
Quantodobbiamoate.

20.VENERE
Eccovialfindivostrepene,ofigli.
Orgodetebeati
Lunonelcordellaltroampiamercede
Delavostravirt.
(ASilvia)
Mipiacqueocara
Prevenireiltuocore.Indilafama,
QuindiAmoreoper.VolliadAscanio
CosdelasuaSposa
Lafortezza,ilcandor,lamor,lafede
Mostrarsugliocchisuoi.Scossiunmomento
Queltuobelcore;enevolarscintille
Dicelestevirtudeamilleamille.
Mavoisolifelici
Esserginondovete.
LastirpedegliDi,pichalsuobene,
Pensaallaltrui.
(AdAscanio)
Apprendi,oFiglioapprendi,
Quantobeatasorte
Farbeatiimortali.Inquestopiano
Tuledificioillustre
Stendidellacitt.LaGentedAlba
Siafamosaperte.Delemieleggi
Temprailsoavefreno:
Ministrailgiusto:ilpopol
mioproteggi.
InavvenirdueNumi
Abbiainvecedunsol;te,quipresente;
Me,chelontanaancora,
Quacolpensierritornersovente.

21.ASCANIO
Chebelpiaceriosento
Insbeatodi!
SILVIA
Numi!chebelmomento!
Comeinsbelcontento
Ilmiotimorfin.
ASCANIO,SILVIAeACESTE
Pisacronodointerra
Pidolceamornon.
QuantopietosaDea,
Quantodobbiamoate.

22.VENERE
Ahchinodipiforti
Hadelmiocoreinquestiamatilidi?
IFigli,leConsorti,ilPopolmio...
SILVIA
OhDiva!
ASCANIO
OhMadre!
VENERE
Addio,mieifigli,addio!
ACESTE
FermapietosaDea,fermati.
AlmenoLascia,cherompailfreno

Alcorriconoscenteunpopolfido.
Ioson,pietosa
Dea,Interpretedilui.Questotuopegno
(accennandoAscanioeabbracciandolo
rispettosamente).
Fidalopreanoi.Vieni;tusei
Nostroamor,nostroben,nostrosostegno.
(AVenere,laqualesparisce,chiudendosi:
edalzandosilenuvole):
Adoreremoinlui
Limaginedite:dite,chespargi
Suifelicimortali
Puroamor,puragioia:dite,cheleghi
Conamorosinodi
IPopolitralor;cheinsendamore.
Difomentoalapace,ediquestoorbe
Stabiliscilesorti,elampiomare
Tranquillizzi,elaterra.Ah,neltuosangue,
DEroi,diSemideisemprefecondo,
Sipropaghiiltuocore:
ElastirpedEneaoccupiilMondo.

23.GENI,GRAZIE,PASTORIeNINFE
AlmaDeatuttoilMondogoverna,
Chefelicelaterrasar.
Latuastirpepropaghisieterna,
Chefelicisarannolet.

ILSOGNODISCIPIONE(CD139140)
(CD139)
1.Overtura
2.Recitativo
FORTUNA
Vieniesegui
mieipassi,
Ogranfiglio
dEmilio.
COSTANZA
Ipassimiei,
Vieniesiegui,
oScipion.
SCIPIONE
Chimailaudace
Cheturbailmio
riposo?
FORTUNA
Ioson.
COSTANZA
Sonio;Esdegnar
nontidi.
FORTUNA
Volgitiame.
COSTANZA
Guardamiinvolto.
SCIPIONE
Ohdei,
Qualleabissodi
luce!Qualeignota
armonia!Quali
sembianze
Sonquestemais
luminoseeliete!
Einqualparte
mitrovo?
Evoichisiete?
COSTANZA
Nutricedegli
eroi.
FORTUNA
Dispensatrice

95010MozartCompleteEdition
110

Dituttoilbenche
luniversoaduna.
COSTANZA
Scipio,iosonla
Costanza.
FORTUNA
IolaFortuna.
SCIPIONE
Edameche
sivuol?
COSTANZA
Chunafranoi
Nelcammin
dellavita
Tupercompagna
elegga.
FORTUNA
Entrambeoffriamo
Direndertifelice.
COSTANZA
Edecidertudi
Seamepicredi,
osepicredialei.
SCIPIONE
Io?Made...
Chedir?
FORTUNA
Dubiti!
COSTANZA
Incerto
Unmomento
esserpuoi!
FORTUNA
Tiporgoilcrine,
Eamenon
tabbandoni?
COSTANZA
Odiilmionome,
Nvieniame?
FORTUNA
Parla.
COSTANZA
Risolvi.
SCIPIONE
Ecome?
Sevoletechioparli,
Serisolverdeggio,
lasciateallalma
Tempodarespirar,
spazioondepossa
Riconoscersestessa.
Ditemidoveson,chi
quamitrasse,
severoquel
chioveggio,
Sesogno,seson
destoosevaneggio.

3.No.1Aria
Risolvernonosa
Confusalamente,
Cheopressasisente
Datantostupor.
Deliradubbiosa
Incertavaneggia
Ognialmache
ondeggia
Framotidelcor.


4.Recitativo
COSTANZA
Giustalatua
richiesta.Aparte,
aparte
Chiedipure,
esaprai
Quantobrami
saper.
FORTUNA
Si,masianbrevi,
Scipio,letue
richieste.
Intollerante
Dirispososonio.
Locoedaspetto
Andarsempre
cangiando
miodiletto.

5.No.2Aria
FORTUNA
Lievesonoal
pardelvento;
Variohoilvolto,
ilpifugace;
Ormadiro,ein
unmomento
Ormitorno
aserenar.
Sollevarlemoli
oppresse
Priamalletta,
epoimipiace
Datterrar
lemoliistesse
Chehosudato
asollevar.

6.Recitativo
SCIPIONE
Dunqueoveson?
Lareggia
DiMassinissa,ove
pocanziilumi
Alsonno
abbandonai,
Certoquest
anon.
COSTANZA
No.Lungiassai
lAfricadanoi.
Seinellimmenso
Tempiodelciel.
FORTUNA
Nonloconosci
atante
Chetisplendono
intorno
Lucidissimestelle?
Aquelcheascolti
Insolitoconcento.
Delemobilisfere?
Aquelchevedi
Dilucidozaffiro
Orbemaggiorchele
rapisceingiro?
SCIPIONE
Echimaitralesfere,
ode,produce
Uncontentos

armonicoesonoro?
COSTANZA
Listessachfralorto
Dimotoedimisura
Proporzionata
ineguaglianza.
Insieme
Urtansinelgirar;
rendeciascuna
Suondallaltro
distinto;
Esiformadi
tuttiunsuon
concorde.
Viariecoslecorde
Sondunacetra;e
purnetempra
inguisa
Elorecchioelaman
lacutoeilgrave,
Chedan,percosse,
unarmoniasoave.
Questomirabilnodo,
Questaragione
arcana
Cheidissimili
accorda,
Proporzionsappella,
ordineenorma
Universaldelle
createcose.
Questaquelche
nascose,
Daltrosaper
misteriosoraggio,
Entroinumerisuoi
diSamoilsaggio.
SCIPIONE
Maunarmonia
sigrande
Perchnongiunge
anoi?Perch
nonlode
Chivivelnella
terrestresede?
COSTANZA
Troppoilpoter
devostrisensi
eccede.

7.No.3Aria
Cigliocheal
solsigira
Nonvedeil
solchemira,
Confusoin
quellistesso
Eccessodisplendor.
ChildelNilcadente
Viveallesponde
apresso,
Lostrepitononsente
delrovinosoumor.

8.Recitativo
SCIPIONE
Equaliabitatori...
FORTUNA
assaichiedesti:
Eleggialfin.
SCIPIONE

95010MozartCompleteEdition
111

Soffriunistante.
Equali
Abitatorihan
questesedieterne?
COSTANZA
Nehanmoltievari
invarieparti.
SCIPIONE
Inquesta,
ovenoisiam,chisi
raccogliemai?
FORTUNA
Guardasolchi
sappressa,elo
saprai.

9.No.4Coro
Germedicentoeroi,
DiRomaonor
primiero,
Vieni,cheinciel
straniero
Ilnometuonon.
Milletrovartupuoi.
Ormedegliavituoi
nellucidosentiero
Oveinoltrastiilpi.
10.Recitativo
SCIPIONE
Numi,veroo
minganno?Ilmio
grandavo,
Ildomator
dellAfricarubello
Queglinon?
Publio:
Nondubitar,son
quello.
SCIPIONE
Gelodorror!
Dunquegli
estinti....
PUBLIO
Estinto,Scipio,io
nonson.
SCIPIONE
Maincenere
disciolto
Tralefunebrifaci,
Grantempogi,
Romatipianse.
PUBLIO
Ahtaci
Pocoseinotoate.
Dunquetucredi
Chequellaman,
quelvolto,
Quellefragili
membraonde
vaicinto
SianoScipione?Ah
nonvero
Sonqueste
Solounavestetua.
Quelcheleavviva
Puroraggio
immortal,che
nonhaparti
Esciogliernonsipu
chevuol,che
intende,


Cherammenta,
chepensa,
Chenonperdecon
glianniilsuovigore,
Quello,quello
Scipione:equel
nonmuore.
troppoiniquoil
destino
Sraiadellavirt,
soltrelatomba
Nulladinoirestasse,
esaltribeni
Nonvivosserdiquei
Cheinterraperlo
pitoccanoarei.
No,Scipio:la
perfetta
DognicagionPrima
Cagioneingiusta
essercosnonpu.
Vdoppoilrogo,
Vmercedasperar.
Quellechevedi
Lucideeternesedi,
serbansialmerto;e
lapibellaquesta
Incuiviveconme
qualunqueinterra
Lapatriaam,
qualunqueoffri
pietoso
Alpublicoriposo
igiornisui,
Chisparseil
sangueabenefizio
altrui.

11.No.5Aria
Sevuoichete
raccolgano
Questisoggiorni
und,
degliavituoi
rammentati,
Nontiscordardime.
Mainoncess
divivere
Chicomenoimorr:
Nonmerito
dinascere
Chivivesolpers.

12.Recitativo
SCIPIONE
Sequivivon
glieroi...
FORTUNA
Sepagaancora
Latuabramanon,
Scipio,gistanca
Latolleranzamia.
Decidi...
COSTANZA
Ehlascia
Cheichiedaavoglia
sua.Cichegli
apprende
Attolorendea
giudicarfranoi.

SCIPIONE
Sequivivonglieroi
Cheallapatria
giovar,traquestesedi
Perchnonmiroil
genitorguerriero?
PUBLIO
Lhaisugliocchie
nolvedi?
SCIPIONE
vero,vero.
Perdona,errai,gran
genitor;macolpa
Delleattoniteciglia
ilmiotardoveder,
nondellamente,
Chelimmaginetua
semprehapresente.
Ahseitu!Giritrovo
Lanticainquella
fronte
Paternamaest.
Gianelmirarti
Risentoimotialcore
Dirispettoe
damore.
Ohfaustinumi!
Ohcaropadre!Oh
lietod.Macome
Sitranquillo
maccogli?Iltuo
sembiante
Serenoben,ma
noncomosso.Ah
dunque
nonproviin
rivedermi
Contentoeguale
almio!
EMILIO
Figlio,ilcontento
Franoiserbanel
Cieloaltrotenore.
Quinongiunge
allaffanno,ed
maggiore.
SCIPIONE
Sonfuordime.
Tuttoquass
mnuovo,
Tuttostupirmifa.
EMILIO
Depornonpuoi
Lefalseideecheti
formastiinterra,
Enestaisilontano.
Abassailciglio:
Veddilaggi
dimpurenebbie
avvolto
Quelpicciolglobo,
anziquel
punto?
SCIPIONE
Ohstelle!
laterra?
EMILIO
Ildicesti.
SCIPIONE
Etantimari
Etantifiumie

95010MozartCompleteEdition
112

tanteselveetante
Vastissimeprovince,
oppostiregni,
popolidifferenti?Eil
Tebro?ERoma?...
EMILIO
Tuttochiusoin
quelpunto.
SCIPIONE
Ah,padreamato,
Chepicciolo,che
vano,
Chemiseroteatroha
ilfastoumano!
EMILIO
Ohsediquelteatro
Potessi,ofiglio,
esaminargliattori;
Selefollie,glierrori,
Isognilorveder
potessi,equale
Dirisoperlopi
degnacagione
Gliagita,gli
scompone,
Lirallegra,gliaffligge
oglinnamora,
Quantopivilti
sembrerebbeancora!

13.No.6Aria
Voicollogiridete
Dunfanciullinche
piange,
Chelacagionvedete
Delfollesuodolor.
Quassdivoisiride,
Chedelletsulfine,
tutticanutiilcrine,
Sietefanciulliancor.

(CD140)
1.Recitativo
SCIPIONE
Publio,padre,ah
lasciate
Chiorimangacon
voi.Lietoabbandono
Quelsoggiorno
laggitroppo
infelice.
FORTUNA
Ancornon
permesso.
COSTANZA
Ancornonlice.
Publio
Moltoavivertiresta.
SCIPIONE
Iovissiassai;
Basta,bastaperme.
EMILIO
Si,manonbasta
Adisegnidelfato,
albendiRoma,
Almondo,alCiel.
PUBLIO
Moltofacestiemolto
Dipisivuoldate.
Sezamistero
Nonvai,Scipione,


altero
Edegliavitie
depaterniallori.
Igloriosituoi
primisudori
Perlecampagne
ibere
Acasononspargesti;
enonacaso
Portiquelnome
infronte
CheallAfrica
fatale.Amefudato
Ilsoggiogarsgran
nemica;etocca
Ildistruggerlaate.
Va,maprepara
Nonmenoalle
sventure
Cheatrionfiiltuo
petto.Inognisorte
Listessalavirt.
Lagita,vero,
Ilnemicodestin,
manonlopprime;
Equandomen
felice,pi
sublime.

2.No.7Aria
Querciaannosa
sulertependici
Fralcontrasto
deventinemici
Pisicura,pi
saldasifa.
Chselvernole
chiomelesfronda,
Pinelsuolo
colpisiprofonda;
Forzaacquista,se
perdebelt.

3.Recitativo
SCIPIONE
Giacchal
volerdeFati
Lopporsivano,
ubbidir.
COSTANZA
Scipione,
Ordiscegliere
iltempo.
FORTUNA
Istruttoorsei;
Puoigiudicarfranoi.
SCIPIONE
Publio,sivuole
Chunadiqueste
de...
PUBLIO
Tuttomnoto.
Eleggiavogliatua.
SCIPIONE
Dehmiconsiglia,
Grangenitor!
EMILIO
Tiusurperebbe,o
figlio,
Lagloriadelasceltail
mioconsiglio.

FORTUNA
Sebramiesserfelice,
Scipio,nonmi
stancar:prendiil
momento
Incuitoffroilcrin.
SCIPIONE
Matuchetanto
importunamisei,
di:qualragione
Tuoseguacemivuol?
Perchdeggio
Sceglierpiche
laltra?
FORTUNA
Echefarai,sionon
secondoamica
Limpresetue?Sai
quelchioposso?
Iosono
Dognimal,
dognibene
Larbitracollagi.
Questalamano
Chespargeasuo
talentoegioieepene
Edoltraggiedonori,
Emiserieetesori.Io
soncollei
Chefabbrica,
chestrugge,
Cherinnova
glimperi,Io,
semipiace,
Insogliouna
capanna,io
quandovoglio,
Cangioincapanna
unsoglio.
Amesoggetti
Sonoiturbini
incielo,
Sonletempestein
mar.Dellebataglie
Ioregoloildestin.se
faustaiosono,
dalleperditeistesse
Fogermogliarle
palme;esiomadiro,
Svelgodimangli
allori
Sulcompirlavittoria
aivincitori
Chepi?Dal
regnomio
nonvaesente
ilvalore,
Nonlavirt;ch,
quandovuollaSorte,
Sembraforteilpi
vil,vileilpiforte;
EadispettodAstrea
Lacolpagiustae
linnocenzarea.

4.No.8Aria
Achiserenaiomiro
Chiarodinotte
ilcielo;
Tornaperluinelgelo
Laterraagermogliar.

95010MozartCompleteEdition
113

Maseataluno
iogiro
Torbidoilguardo
efosco,
Frondegliniega
ilbosco,
Ondenontrova
inmar.

5.Recitativo
SCIPIONE
Easenorme
possanza
Chisopponga
nonv?
COSTANZA
S,laCostanza.
Io,Scipio,iosol
prescrivo
Limitieleggialsuo
temutoimpero.
Dovesonionon
giunge
Linstabilearegnar;
cheinfacciamianon
hanluceisuoidoni,
Norrorlesue
minacce.verche
oltraggio
Soffrondalei
Ilvalor,lavirt;ma
lebellopre
Vindicedemieitorti,
iltemposcopre.
Sonio,noncostei,
Checonservo
glimperi:egli
avituoi,
LatuaRomalosa.
Crollaristretta
dabrenno,ver,la
libertalatina
Nellangustotarpeo,
manonruina.
DellAufidoalle
sponde
Sevede,ver,
miseramenteintorno
Tuttaperirla
gioventguerriera
Ilconsoleroman,ma
nondispera
Annibalesaffretta
DiRomaadottener
lultimovanto
Ecovessillisuoi
quaisladombra;
MatrovainRoma
intanto
Prezzoilterrenche
vincitoreingombra
Sonmieproves
belle;eaqueste
prove
NonresisteFortuna.
Ellasistanca;
Ealfincangiando
aspetto,
Miasudditadiventa
suodispetto.


6.No.9Aria
Biancheggiain
marloscoglio,
Parchevacilli,
epare
Chelosommerga
ilmare
Fattomaggior
dis.
Maduraa
tantoorgoglio
Quelcombattuto
sasso;
Elmartranquillo
ebasso
poiglilambisce
ilpi.

7.Recitativo
SCIPIONE
Nonpi.Bella
Costanza,
Guidamidove
vuoi.Daltrinon
curo;
Eccomituo
seguace.
FORTUNA
Eidonnimiei?
SCIPIONE
Nonbramoenon
ricuso.
FORTUNA
Emiofurore?
SCIPIONE
Nonsfidoenon
spavento.
FORTUNA
Invanpotresti,
Scipio,pentirtiund.
Guardamiinviso:
Pensaci,epoidecidi.
SCIPIONE
Hgideciso.

8.No.10Aria
Dicheseilarbitra
Delmondointero,
manonpretendere
Percilimpero
Dunalmaintrepida,
Dunnobilcor.
Teviliadorino,
Numetiranno,
Queichenon
prezzano,
Queichenonhanno
Cheilbassomerito
Deltuofavor.

9.Recitativo
FORTUNA
Evmortal
cheardisca
Negarmiivotisuoi?
Cheilfavormio
Nonprocuriottener?
SCIPIONE
S,visonio.
FORTUNA
Eben,provami

avversa.Olvenite,
Orribilidisastriatre
sventure,
Ministredelmio
sdegno:
Quellaudace
opprimete;iovel
consegno.
SCIPIONE
Stelle,chefia?Quel
sanguinosaluce!
Chenembi!che
tempeste!
Chetenebreson
queste?Ahqual
rimbomba
Perlesconvoltesfere
Trerribilefragor!
Centosaette
Mistriscianfrale
chiome;e
parchetutto
Vadasossoprailciel.
No,nonpavento,
EmpiaFortuna:in
vanminacci;invano
Perfida,ingiusta
dea...Machimi
scuote?
Conchiparlo?Ove
son?DiMassinissa
Questopureil
soggiorno.EPublio?
Eilpadre?
Egliastri?ElCiel?
Tuttospar.Fusogno
tuttocichiomirai?
No,laCostanza
Sognononfu:meco
rimaseIosento
Ilnumesuochemi
riempieilpetto.
Vintendo,amicidei:
laugurioaccetto.
Licenza

10.Recitativo
NonScipio,o
signore(ahchi
potrebbe
Mentirdinanziate!)
nonloggetto
Scipiodeversimiei.
Diteragiono,
Quandoparlodilui.
Quelnomeillustre
unveldicui
sicopre
Ilrispettosomio
giustotimore.
MaScipioesaltail
labbro,ediGirolamo
ilcore.

11.No.11Aria
Ahperchcercar
deggio
Fragliavanzi
delloblio
Cicheintene
donailCiel!

95010MozartCompleteEdition
114

Divirtchiprove
chiede,Lodein
quelli,
intelevede:
Elorecchioognor
delguardo
pitardoe
menfedel.

12.Coro
Centovoltecon
lietosembiante,
Prenceeccelso,
dallondemarine
Tornilalbadun
dsseren.
Erispettiladiva
incostante
Quellamitrache
portisulcrine,
Lalmagrandeche
chiudinelsen.

LUCIOSILLA(CD141143)
AttoPrimo(CD141)
Scena1
Solitariorecinto
sparsodimoltialberi
conrovinededifizi
diroccati.
RivadelTebro.In
distanzavedutadel
Monte
Quirinaleconpiccolo
Tempioincima.
Cecilio,indiCinna

4.Recitativo
CECILIO
Ahciel,lamicoCinna
Quiattendoinvan.
Limpazienzamia
Crescenelsuoritardo.
Ohcomemai
penosoognistante
Alcoreumanse
pende
Fralaspeme,eil
timor!Idubbimiei...
Manonminganno.
Eivien.LodeagliDei.
CINNA
Cecilio,ohconqual
gioiapurtiriveggio!
Ahlascia,cheun
pegnoiotoffra
Orchesonlieto
appieno,
Damistate,e
daffrettoinquesto
seno.
CECILIO
Quantolatuavenuta
Accelercoivoti
Linquietaalmamia.
Quainonprodusse
Latuatardanzainlei
Smanie,espaventi,e
quali
Immaginifuneste


Saffollanoalpensie.
Lalmaagitata
Saffanna,si
confonde...
CINNA
Ilmioritardoaltro
motivoasconde.
Tuttodamesaprai.
CECILIO
Dehnontoffenda
Limpazienzamia...
Giuna,lacara,
Lafidasposasempre
Tuttamor,tuttaf?
Quedolciaffetti,
Chuntempomi
giur,rammenta
adesso?
lsuotenerocore
anchelistesso?
CINNA
Ellaestintotipiange...
CECILIO
Ahcome?...Ah
dimmi!
Dimmi:echital
mezognaos
dimmaginar?
CINNA
LartediSilla
Pertrionfardeldilei
fidoamore.
CECILIO
Aconsolarsivoliil
suodolore.
CINNA
Deh,tarresta.Enon
sai,
Cheltuoritorno
cosgrandellitto,
Cheguidaamorteun
cittadinproscritto?
CECILIO
Perserbarmiunavita,
Chodiosenzadilei,
Dunquelasciarpotrei
lasposainpreda
Auningiusto,aun
crudel?
CINNA
Mascolta.Edove,di
rivedertusperi
LatuaGiuniafedel?
nelpropriotetto
Sillalatrasse...
CECILIO
ECinna
Oziosoapettator
sofr?...
CINNA
Chemai
Solotentarpotea?Pur
troppovano
Ilcontrastarconchi
halaforzainmano.
CECILIO
Dunque,nemiciDei
Dirivederlasposapi
sperarnonpossio?
CINNA
Modi.Nonlungi

Daquestaignota
parte
Iltacitorecinto
Ergesialciel,chenelle
mutesoglie
Detrapassatieroile
tombeaccoglie.
CECILIO
Chefardeggio?
CINNA
Passarviperquel
sentieroascoso,
Chefralampierovine
aluinequida.
CECILIO
Ecolchesperar?
CINNA
Saicheconfina
ColpalagiodiSilla.In
luisovente
Dafidisuoiseguita
fraldGiuniavi
scende.
Ivisoventealla
mestrunaaccanto
Delgenitor,lasuol
bagnardipianto.
Sorprenderlapotrai.
Potrainelseno
Farledestarlaspeme,
Chegisestinse,e
consolarviinsieme.
CECILIO
Ohmebeato!
CINNA
Altrovecomolti
amiciintuadifesa
uniti
Frattantoioveglier.
GliDei
Oggirendersapran
dopounalunga
Vilservitpenosa
LalibertaRoma,ate
lasposa.

5.No.1Aria
CINNA
Vieniovamortinvita
Vieni,chegimi
sento
Deltuovicincontento
Glialtripresagiinsen.
Nonsempreilmar
cruccioso,
Nonsempreilciel
turbato,
Ridealfin,lietoe
placato
Fralacalma,edil
seren.

Scena2Ceciliosolo,Recitativoaccompagnato
6.CECILIO
Dunquesperarpossio
Dipascergliocchimiei
Neldolceidolomio?
Gimifiguro
Lasuasorpresa,ilsuo
piacer.Gisento
Suonarmiintornoinomi

95010MozartCompleteEdition
115

Dimiosposo,mia
vita.Ilcornelseno
Colpalpitarmiparla
Deteneritrasporti,e
mipredice...
Ohcielsolframestesso
Quidigioiadeliro,e
nonmaffretto
Lasposaad
abbracciar?Ahforse
adesso
Sulmorirmiodelusa
Privadognisperanza,
ediconsiglio
Lagrimedidolorversa
dalciglio!

7.No.2Aria
CECILIO
Ilteneromomento
Premioditanto
amore
Gimidipingeilcore
Fraidolcisuoi
pensier.
Equalsaril
contento,
Chalfiancosuo
maspetta,
Setantooramalleta
Lideadelmiopiacer?

Scena3AppartamentidestinatiaGiunia,con
statuedellepicelebriDonneRomane.Silla,
Celia,Aufidio,eGuardie
8.Recitativo
SILLA
Atedellamormio,
delmioriposo
Celia,lascioilpensier.
Rendipisaggia
LostinatadiMario
alterafiglia.
Eanonaprezzarmi
alfintulaconsiglia.
CELIA
Germansai,che
finora
Tuttofeciperte.Vu
lusingarmi
Divederlacangiar.
AUFIDIO
Quellasuperba
Collepreghiere,ecoi
consigliinvano
Siachesitenti.Un
dittatorsprezzato,
ChedaRoma,edal
Mondointer
sammira,
Saltrononvale,
Usilaforza,elira.
SILLA
Elaforzauser.La
miaclemenza
Nonmifruttche
sprezzi,
Eingiurioserepulse
Dunafemmina
ingrata.Inquesto
giorno


Miseguaallara,e
paghi
Rendagliaffettimiei.
Olnuovosolnon
sorgerperlei.
CELIA
AhSilla,ahmio
germano
Pertuacagioneio
tremo,
Setrasportartilascia
questoestremo.
Purtroppo,ahspur
troppo
Laviolenzaspesso
Madrefataldognipi
neroeccesso.
SILLA
Datentarchemi
resta,
Seostinatacoleimi
fugge,esprezza?
CELIA
Adoprartusoldevi
arte,edolcezza.
Sver,chesultuo
core
Vantaifinorqualche
possanza,ahlascia,
ChedaGiuniamen
corra.Ellafrapoco
Dateverr.Lascolta
Forsesiacheunavolta
Cangipensier.
SILLA
Dimiaclemenza
ancora
Provafar.Giunia
sattenda
Esecoparlilosposo
inme.
Manonsabusi
Dellamormio,dimia
bontade,etremi,
SeSillaalfine
inesorabilreso
Favellerdadittatore
offeso.
CELIA
Germandimetifida.
Oggipisaggia
Giuniasar.Finora
Unasegretaspeme
Forseilcorlenutr.Se
caddeestinto
Lospososuo,pinon
restaomai
Amorosalusinga.I
preghituoi
Cautorinnova.
Unamatorvicino
Sedunlontan
trionfa,iltrionfare
Dunamator,chegi
divitaprivo,
piagevoleimpresa
aquel,chvivo.

9.No.3Aria
CELIA
Selusinghieraspeme

Pascernonsagli
amanti
Anchefraipi
costanti
Languiscefedelt.
Quelcorsfidoe
tenero,
Ahsquelcoreistesso
Cosostinatoadesso
Quelcorsipiegher.

Scena4Silla,Aufidio,eGuardie
10.Recitativo
AUFIDIO
Signor,duolmivederti
Airifiuti,aglinsulti
Espostoancor.Ale
preghireumili
Sabbassiuncor
plebeo.MaSilla,il
fiero
TerrordellAsia,il
vincitordiPonto
LarbitrodelSenato,e
chesivide
UnMitridatealduo
granpisommesso,
Savvilirduna
donzellaappresso?
SILLA
Nonavvilisceamore
Unmagnanimocore,
oselfavile,
InfraigliEroi,chele
provincieestreme
Handebellate,e
scosse,
Unsolnonvisaria,
chevilnonfosse.
Inquestogiorno,
amico,
SarGiuniamia
sposa.
AUFIDIO
Ellasenviene.
Mirainquelvolto
espresso
Unostinatoamore,
Unodiointerno,un
disperatoduolo.
SILLA
Acoltarlavoglio.
Lasciamisolo.
(Aufidioparte)

Scena5Silla,Giunia,eGuardie
11.Recitativo
SILLA
Sempredovrvederti
Lagrimosaedolente?
Iltuobelciglio
Unasolvoltaalmeno
Nonfiachesirivolga
ameserno?
Cielo!tunon
rispondi?
Sospiri?ticonfondi?
ahs,misvela
Perchcospenosa
Tagiti,impallidisci,e
scansiadarte

95010MozartCompleteEdition
116

Dincontrargliocchi
Tuoinegliocchimiei?
GIUNIA
Empio,perchsol
lodiomiotusei.
SILLA
Ahno,credernon
posso,
Cheadannomio
sasconda
Sifieracrudeltnel
tuobelcore
Hannoilimitisuoi
lodio,elamore.
GIUNIA
Ilmionongi.
Quantamerlo
sposo,
TantoSillaodier.Se
fragliestinti
Lodiogiunge,e
lamor,dentro
questalma
Cheadontatuanon
cangergiammai,
Egliilmioamor,tu
lodiomiosarai.
SILLA
Madimmi:inche
toffesi
Perodiarmicos?che
nonfecio,
Giunia.perte?La
morte
Ilgenitortinvola,ed
iotiporgo
Nellemiemuraistesse
Ungenerosoasilo.
Ognidovere
Dellospitalitquiteco
adempio,
Epurseguiad
odiarmi,eSillaun
empio?
GIUNIA
Stenderdunque
dovreilebraccia
amanti
Aunnemicodel
padre?Etiscordasti
Quantocontrodilui
barbarooprasti?
Indolorosoesiglio
Fraicittadinpi
degni
Languisce,emore
alfinlosposomio,
Echinlacagione
amardeggio?
Pertuapenamaggior,
dinovoilgiuro,
AmoCecilioancor.
Rispettoinlui
Benchmorto,la
scelta
Delgenitor.Se
linumandestino
Dalfiancomiolo
tolse
Persecondareiltuo
perversoamore


Ahs,viversempre
inquestocore.
SILLA
Amalopursuperba,e
inmedetesta
Unnemicotiranno.
Orsenti.Infaccia
Ditantiinsultiio
voglio
Tempolasciartial
pentimento.Oscorda
Unforsennato
orgoglio,
Uninutileaffetto,un
odioinsano,
Oaseguirtiprepara
NellErebofumante,e
tenebroso
Lombradelgenitor,e
dellosposo.
GIUNIA
Collaspettodimorte
DelgranMariouna
figlia
Presumidavvilir?
Nonavrialuogo
Nellalmatuala
speme
Choltraggialamor
mio
Seprovassi,inumano,
Dichecapaceun
verocorRomano.
SILLA
Meglioaltuorischio,
oGiunia,
Pensa,erisolvi.
Ancora
Unrestodipietade
Solperchtamo
ascolto.
Ahsmegliorisolvi...
GIUNIA
Hogirisolto.
Delgenitoreestinto
ognoraiovoglio
Rispettareilcomando;
SempreSillaaborirre,
Sempreadorarlo
sposo,
Epoimorire.

12.No.4Aria
GIUNIA
Dallasponda
tenebrosa
Vieniopadre,osposo
amato
Dunafiglia,eduna
sposa
Araccorlestremo
fiato.
Ahtudisdegno,o
barbaro
Smanifrate,deliri,
Manonquesta,o
perfido
Lapenatuamaggior.
Iosarpagaallora
Dinonavertiaccanto,
Turesteraifrattanto

Coituoirimorsial
cor.

Scena6Silla,eGuardie
13.Recitativo
SILLA
Etollerareiopossosi
temerarioltragi?
Atanteoffesenonsi
scotequestalma?
Echelareseinsensata
altalsegno?
Undittatorecos
sinsulta,esprezza
Dafolledonna
audace?...
Epure,ohmiorossor!
epurmipiace!
Recitativo
accompagnato
Mipiace?Eilcordi
Silla
Dellasuadebolezza
nonarrossisceancora?
Taccialaffetto,ela
superbamora.
Chenonmicura
amante
Disdegnosomitema.
Asuotalento
Crudelmichiami.
Aborra
Lamiadestra,ilmio
cor,gliaffettimiei,
Adivenirtirannoin
questodcomincier
dalei.

14.No.5Aria
SILLA
Ildesodivendetta,e
dimorte
Sminfiamma,es
magitailpetto,
Cheinquestalma
ognideboleaffetto
Disprezzatosicangia
infuror.
Forsenelpunto
estremo
Dellafatalpartita
Michiederailavita,
Masarilpianto
inutile,
Inutileildolor.

Scena7Luogosepolcralemoltooscuroco
monumentideglieroidiRoma.Ceciliosolo
Recitativoaccompagnato
15.CECILIO
Morte,mortefatal
dellatuamano
Eccoleprovein
queste
Gelidetombe.Eroi,
duci,regnanti
ChedevastarlaTerra,
Angustomarmoor
quiricopre,eserra.
Giincentobocche,e
cento

95010MozartCompleteEdition
117

Deilorfattiecheggi
stupitoilmondo.
Eorquiglavvolgeun
mutoorrorprofondo.
OhDei!...Chemai
sapressa?
Giunia...lacara
sposa?...Ahnon
sola;
Masconder,ma
dove?Ohstelle!in
petto
Qualpalpito!...qual
gioia!...echefar
deggio?
Restar?...partire?...oh
ciel!
Dietroaquesturna
Arespirarmicelo.

Scena8SavanzaGiuniacolseguitodidonzelle,
edinobiliallugubrecantodelseguente.
No.6Coroearioso
16.CORO
Fuordiquesteurne
dolenti
Dehnuscitealme
onorate,
Esdegnosevendicate
Laromanalibert.
GIUNIA
Odelpadreombra
diletta
Sedintornoame
taggiri,
Imieipianti,imiei
sospiri
Dehtimovanoa
piet.
CORO
Ilsuperbo,chedi
Roma
Stringeilacciin
Campidoglio,
Rovesciatooggidal
soglio
Siadesempioadogni
et.
Recitativo
accompagnato

17.GIUNIA
SelempioSilla,o
padre
Fusemprelodiotuo
finchvivesti,
PerchGiuniatua
figlia,
Perchilsangue
Romanohanellevene
Suppliceinnanzi
allurnatuasenviene.
Tupureombra
adorata
Delmioperdutoben
vola,esoccorri
Latuasposafedel.De
telontana
Diquestavitaamara
Odialaurafunesta...


Scena9Cecilio,edette
18.CECILIO
Eccomi,ocara.
GIUNIA
Stelle!...iotremo!...
cheveggio?
Tusei?...forse
vaneggio?
Forseunalarva,opur
tustesso?OhNumi!
Mingannate,omiei
lumi?...
Ahnonsoancorsea
questa
Illusionsoavaio
mabbandono!...
Dunque,...tusei...
CECILIO
Iltuofedeleiosono.

No.7DuettoGiunia,eCecilio
19.GIUNIA
DElisioinsen
mattendi
Ombradellidolmio,
Chatebenpresto,oh
Dio
Fia,chemuniscailciel.
CECILIO
Sposaadorata,efida
Solneltuocaroviso
RitrovaildolceEliso
Questanimafedel.
GIUNIA
Sposo...ohDei!tu
ancorrespiri?
CECILIO
Tuttofede,etutto
amor.
GIUNIAECECILIO
Fortunatiimiei
sospiri,
Fortunatoilmio
dolor.
GIUNIA
Caraspeme!
CECILIO
Amatobene.
GIUNIAECECILIO
(siprendonper
mano)
Orchalmiosenocara
(caro)tusei
Minsegnailpianto
deglocchimiei
Chhalesuelagrime
ancheilpiacer.

(CD142)
AttoSecondo
Scena1PorticofregiatodimilitaritrofeiSilla,
Aufidio,eGuardie
1.Recitativo
AUFIDIO
Telpredissi,o
Signor,chela
superba
Piostinatasaria
quantopimostri
Diclemenza,e
damor?

SILLA
Pocolaresta
Dainsultarmicos.
Risolviomai.
Morirdovr.Lho
tollerataassai.
AUFIDIO
Lamicotuofedele
Puliberoparlar?
SILLA
Parla.
AUFIDIO
Tusai,
Cheroenonavvial
mondo
Senzagliemulisuoi.
GliEmili,eiScipi
Nebberoachessi,edi
suegestaadonta
IlgloriosoSillaassai
neconta.
SILLA
Purtroppoioso.
AUFIDIO
Tuporgi
NellamortediGiunia
areinemici
Larmicontrodite.
DunMariofiglia,
EquestoMarioancor
nepropiamici
Viveatuodanno.
SILLA
Echefardeggio?
AUFIDIO
Infaccia
AlPopolo,ealSenato
Sialalteratuasposa.
Unfintozelo
Disopirgliodi
antichi
Laviolenzaasconda.
Altuovolere
Chisopporr?Di
numeroseschiere
Foltostuoloticinga.
Ognunpaventa
Inteleroe,chogni
civildiscordia
Hasoggiogata,e
doma
Eaunsguardotuo
tremailSenato,e
Roma.
Signordelcomun
voto
Taccertailtuovoler.
Laragionsempre
segueilpiforte,
Echiframillesquadre
Asupplicarsipiega?
Vuole,ecomanda
allorchparla,eprega.
SILLA
Eselingrataancora
Misprezza,emi
discaccia
AlPopolo,alSenato,a
Romainfaccia?
Chefardovr?

95010MozartCompleteEdition
118

AUFIDIO
Laltera
Nonsopporr.
Quelostinatocore
Cedervedrainel
publicoconsenso
DelPopoloRoman.
SILLA
Seguasi,amico
Iltuoconsiglio.Oh
ciel!...sappi...ioti
scopro
Ledebolezzamia.
Quandolestragi,
Leviolenzeadeseguir
maffretto
ilcordiSillain
petto
Dapiatrocirimorsi
Lacerato,edoppresso.
Inqueimomenti
Fiericontrastiio
provo.Inorridisco,
Voglio,tremo,amo,ed
ardisco.
AUFIDIO
Questincostanzatua,
lascia,cheldica,
Ituoigranmerti
oscura.Ognirimorso
Dellaviltadefiglio.
Ardito,elieto
Ilmioconsiglio
abraccia,esuo
malgrado
Lafemminafastosa
costrettavengaa
divenirtuasposa.

No.8Aria
AUFIDIO
Guerrier,chedun
acciaro
Impallidisceallampo,
Adarnonvadain
campo
Provedisuavilt.
Seorcedeaunvil
timore,
Seorcedealla
speranza,
Equalsarincostanza
Sequestanonsar?
SCENA2
Silla,indiCelia,e
Guardie

2.Recitativo
SILLA
Ahnonmainon
credea,
Challuomtral
fasto,elegradezze
immerso
Tantocostasseil
divenirperverso.
CELIA
Tuttotentaifinor.
Preghi,promesse,
Eminacce,espaventi
alcordiGiunia,


Sonoinutileassalti.
Ahmiogermano
Immaginarnonpuoi
Comeperte...
SILLA
Soquel,chedirmi
vuoi.
Sillanonmengrato
achiperlui
Ancheinutilsadopra.
Inmandelcaso
Sependeognisucesso,
ilpropriomerto,
Alloperenonscema
contrarioevento.
Inquestodmiasposa
Giuniasar.
CELIA
Giuniatuasposa?
SILLA
Ilcomenonricercar.
Tibasti,chepagoio
sia.
CELIA
Perchlarcanmiceli,
Eperchnonrischiari
unfavellarsoscuro?
SILLA
(Perchindonnaun
arcanomalsicuro.)
Ilmiosilenzioornon
tispiaccia,emodi.
TepursposadiCinna
Inquestogiornoio
bramo..
CELIA
(Ohmefelice!)
Lascia,ahlascia,cha
Cinna,iltuo
Fidoamicoiorechi
Coslietanovit.
Illabbromioglisveli
alfin,
Cheisoloilmio
tesoro,
Echeognorladorai
comeladoro.
(parte)
SILLA
Adaffrettarsivadain
Campidoglio
Lameditataimpresa,e
lapiascosa
Artesadopri,ondela
mianemica
Altalamomisegua.
Ahsconosco,
Chadogniprezzoio
deggio
Ilpossessoacquistar
dellasuamano.
Rimorsimiei
Viridestateinvano.

Scena3Ceciliosenzelmo,senzamento,econ
spadanuda,chevuoleinseguirSilla,eCinna,
chelotrattiene.
3.CINNA
Qualfurorti
trasporta?

CECILIO
Ilbracciomionon
ritener.
Supassideltirannosi
voli.
Ilnudoacciarogli
squarciilsen...
CINNA
Tarresta.
Madondenasce
questaimprovvisaira
tua?
CECILIO
Sapertibasti,
Cheprolungarnon
deggio
Unsolmomentoil
colpo...
CINNA
Eiltuoperiglio?
CECILIO
Nonlotemo,
Edisprezzoogni
consiglio.
CINNA
Ahperpiet
mascolta...
Svelami...dimmi...oh
ciel!
Quetronchiaccenti
Quefuriosisguardi...
Ledisperatesmanie
tue...glisforzi
Dinvolartidame...
Lesportiardito
Auncimentofatal...
Millesospetti
Mifannascereinsen.
Parla.Rispondi...
CECILIO
Tuttosaprai...
CINNA
No,nonsar
giammai,chiotilasci
partir.
CECILIO
Perchritardila
vendettacomun?
CINNA
Solperchbramoche
dubbiosanonsia.
CECILIO
Dubbiosanonsar.
CINNA
Dunquetuvuoi
Perunardire
intempestivo,evano
Troncareilfildituttii
meditati
Disegnimiei?Giunia
revedi,equando
Amarperleidipi
devilavita
Incautocorriadun
impresaardita?
Pinontacer.Mi
svela
Chifuriosoasegnotal
tirende?
CECILIO
Lorridarimembranza

95010MozartCompleteEdition
119

incormaccende
Novistimoliallira.
Odi,estupisci.
Poichquestalma
oppressadellamia
sposa
Alfiancotrovdolce
confortoallasua
pena,
Dalluogotenebroso
allontanatiappena
AvevaGiuniaisuoi
passi,unleggersonno
Mavvolseilumi.Oh
cielo!
Dorroreancorne
gelo!Eccomisembra
Spalancatamirarla
fredatomba,
Incuilestinte
membragiacciondi
Mario.
Inmelecavernose
luciraccglie,el
teschio
Pertrevoltecrollando
disdegnoso,eferoce
Sento,chesmigrida
infiocavoce:
Cecilioachetarresti
Pressolatombamia?
Vanne,edaffretta
Dellacomunvendetta
Ilbramatomomento.
Oziosoalfianco
Pilacciarnonti
penda.Ahseritardi
Lopraacompir,che
lombrainvendicata
DiMariooggi
timpone,eti
consiglia,
Tuperderailasposa,
ediolafiglia.
Recitativo
accompagnato
CECILIO
Alfierosuonde
minacciosiaccenti
Lalmasiscosse.Il
sonno
Dasbigottitilumi
salontan.
Macceseimprovviso
furor.Strinsilacciaro,
Nilrimorsopiedeio
piritenni,
Malreotirannoa
trucidarquavenni.
Ahpinon
marrestar...
CINNA
Ferma.Perpoco
Delliratuaraffena
Iferocitrasporti.Ah
seiperduto,
SeinteSillasavvien...
CECILIO
Paventardeggiodun
tirannoglisguardi?
Unaltramano


trucidarlodovr?Non
mai.
Miveggiointorno
ognorlabieca
OmbradiMarioa
ricercarvendetta;
Edeglaccentisuoi
Adognistanteorch
altuofiancoiosono
Mirimbombaall
orecchieilfiero
suono.
Lasciami...
CINNA
Ahsedisprezzi
Tantoiperiglituoi,
dehpensaalmeno,
Chedallavitatua
pendelavita
Dunasposafedele.
Ohstelle!Ecome
Percoscarigiorni...
CECILIO
OhGiunia!...oh
nome!...
Ilsolpensiero,amico
Cheperderlapotrei,
delmiofurore
Ognimpetodisarma.
Ahcorri,vola
Permesvenail
tiranno...OhNumi,e
intanto
Almionemico
accanto
Restalasposa?...
ahim!...chila
difende...
Maseiquigiunge?...
OhDio!Qualfier
contrasto,
Qualpena,eterniDei!
Timore,affanno,
Ira,speme,efuror
sentoinseno,
Nsodilorchi
vincer!chepenso?
Enonrisolvoancora?
Giuniasisalvi,aal
fiancosuosimora.

4.No.9Aria
CECILIO
Questimprovviso
tremito
Cheinsendipi
savanza,
Nonsosesia
speranza,
Nonsosesiafuror.
Mafrasuoimoti
interni
Fralemiesmanie
estreme,
Osiafurore,ospeme,
Paventiiltraditor.
(parte)

Scena4Cinna,indiCelia
5.Recitativo
CINNA
Ahs,saffrettiil
colpo.Ilcieldun
empio
Seilcastigoprolunga,
attenderassi,
ChedeTarquiniinlui
Gliscelleratieccessi
Sianrinnovatianostri
tempiistessi?
CELIA
Qualtisiedesulciglio
Curaaffanosa?
CINNA
AltroveCelia,passar
deggio
Nonmarrestar...
CELIA
Eognormifuggi?
CINNA
Addio.
CELIA
Perunistantesolo
Mascolta,epartirai.
CINNA
Chebrami?
CELIA
(OhDei!Parlarnon
posso,efavellar
vorrei.)
Sappi,cheilmio
german...
CINNA
Parla.
CELIA
Desia...
(Ahmiconfondo,e
temo,
Chenonmiamiil
crudel.)
S,sappi...
(Ohstelle!Infacciaa
luicheadoro
Perchmiperdo?
Oggisarmiosposo,
Esvelarglinonoso?...)
CINNA
Iononintendo
Iltronchiaccentituoi.
CELIA
(Fingelingrato!)
Orchedubbiosaio
taccio
Nontifavellainseno
Ilcorperme?Chedir
possio?Purtroppo
Nelanguidimieirai
Questosilenziomioti
parlaassai.

No.10Aria
CELIA
Seillabbrotimito
Scoprirnonosa
Lafiammaascosa
Perluitiparlino
questepupille
Perluitisvelinotutto

95010MozartCompleteEdition
120

ilmiocor.
(parte)

Scena5Cinna,indiGiunia
6.Recitativo
CINNA
Dipiegarsicapace
Aunamorosa
debolezzalalma
NonfudiCinna
ancor.Masedafolle
Savvilissecos,no,
nonavria
Lagermanadun
empiousurpatore
Iltributoprimierdi
questocore.
Giuniasappressa.Ah
chellapusoltanto
Lagrandopra
comprir,chevolgoin
mente.
Agitata,edolente
immersasembra
Fratorbidipensier.
GIUNIA
Sillamimpone
Chealpopolo,eal
Senatoiomipresenti;
Lempiochepu
voler?
Saici,chetenti?
CINNA
Forsepi,chenon
credi
lamortediSilla
oggivvicina
Pervendicarlalibert
latina.
GIUNIA
Tuttodalcielpietoso
dunquesperiam.
Maintantoallatua
curaiolascio
Lamatosposomio.
Dehsetideggio
Ilpiacerdimirarlo,
Poichlopiansi
estinto,ahsperlui
Veglia,tadorpa,eresti
Altirannonascoso.
CINNA
Ametaffida,non
paventarsugiorni
suoi.
Mascolta,aipadriin
facciamealPopolo
Romano
Sillasaici,chevuol?
Vuollatuamano.
Conilconsensolorla
violenza
Giustificarpretende.Il
suodisegno
Tutto,oGiunia,io
prevedo.
GIUNIA
Iosonlasola
Arbitradimestessa.A
unviltimore


CedailSenatopur,
nonquestocore.
CINNA
Date,sevuoi,
dipende
Giuniaungrancolpo.
GIUNIA
Echefarposso?
CINNA
Alletto
Seguilempiotiranno
ovetinvita,
Mainquellopertua
manlascilavita.
GIUNIA
Stelle!chedicimai?
Giuniapotria
Contradimentovil...?
CINNA
Folletimore.
Dehsovvienti,che
ognora
Fuleccidioderei
Unspetacologratoa
sommiDei.
GIUNIA
Sdunplebeopur
sacra
Franoilavita,ecome
Voui,cheinsennon
miscendaunfreddo
orrore
Neltrafiggereiostessa
undittatore?
Benchtiranno,e
ingiusto
SemprealSenato,ea
Roma
Sillapresiede,edisua
morteinvano
Farmireatupresumi.
Vittimaeisia,
Madellamandei
Numi.
CINNA
SedoffendergliDei
Avesseundtremuto
Lalibertnondovria
RomaaBruto.
GIUNIA
MaBrutoincampo
armato,
Nonconunaviltade
Dellalatinalibertade
infranse
Lacatenaservil.No,
nonfiamai
Chadifuturipassi
Ilnomemio
macchiato
Duntradimentovil.
Serbami,amico,
Serbamiilcaroben.
Dehsoltupensa
Allaslavezzasua.
Dellavendetta
Alciellasciailpensier.
Recitativo
accompagnato
GIUNIA
Vanne.Taffretta.

Forselungidate
potrialosposo
Perunsorvechio
ardir...Limpetuosa
Almasuabenconsci.
Ah,perpietade,
Fa,cherimangaad
ognisguardoascoso.
Dilli,chesemadora;
dillichesemfido
Serbiimieinesuoi
giorni.Atelaffido.

7.No.11Aria
GIUNIA
Ahseilcrudel
periglio
Delcarobel
rammento
Tuttomifaspavento
Tuttogelarmifa.
Seperscaravita
Nonveglialamist
Dachisperareaita
Dachisperarpiet?
(parte)

Scena6Cinnasolo
Recitativoaccompagnato
8.CINNA
Ahs,scuotasiomai
Lindegnogiogo.Assai
Simorseilfrendi
servittiranna.
Sedisvenarricusa
Giuniaquellempio,
unbraccio
Nonmancher,che
timorosomeno
Ilferromicidialgl
immergerinseno.

9.No.12Aria
CINNA
Nelfortunatoistante,
Cheeigicovoti
affretta
Perlacomunvendetta
Vu,chemispirial
pi.
Givaunadestra
altera
Delcolposuofelice
Equestadestraultrice
Lungidaluinon.
(parte)

Scena7OrtipensiliSilla,Aufidio,eGuardie
10.Recitativo
AUFIDIO
Signor,aicennituoi
IlSenatofiapronto.
Eglifrapoco
Tascolter.Delette
squadreintorno
Numerosacorona
Adarteiodisporr.
SILLA
LamicoCinna
Nonignorilarcano.Il
suosoccorso

95010MozartCompleteEdition
121

necessarioallopra.
Ahchemestesso
Pinonritrovoinme!
Doviomivolga
Dellacrudel
limmaginegradita
Midipingeilpensier.
Misuonaognora
Ilcaronomesuofrai
labbrimiei,
Etuttoparlaaquesto
cordilei.
AUFIDIO
Iogitivedoalcolmo
Dituafelicit.Della
possanza
Usa,chelcieltidi.
Roma,ilSenato,
Eognanima
orgogliosaorchelo
puoi
Fa,chepieghinla
fronteapiedituoi.
(parte)
SILLA
Ahs,dicivilsangue
Innonderlevie,se
Romaaltera
AllebramediSilla,
oggisoppone;
Honelbraccio,honel
corlamiaragione.
Giunia?...Qualvista!
Insbelvoltoioscuso
Ladebolezzamia
...Matantioltraggi?
Ahcheinvederla,oh
Dei!
Ildittatoreoffesoio
pinonsono;
Desuoisprezzimi
scordo,eleperdono.

Scena8Giunia,Silla,eGuardie
11.Recitativo
GIUNIA
(Silla?Lodiatoaspetto
Destamiorror.Sifugga!)
SILLA
Arrestailpasso.
Sentimiperpietade.
Ilpiinfelice
Dognimortalmi
rendi,
Senemicamifuggi...
GIUNIA
Echepretendi?
Scostati,traditor!
(Tremo,maffanno
perlidolmio!)
SILLA
Ahno,nonsotiranno
Cometucredi.E
lanimadiSilla
Capacedivirt.Quel
tuobelciglio
Soffrirpinonpossio
cossevero...
GIUNIA
Tudivirtcapace?
Ah,menzognero!


SILLA
Sentimi...
GIUNIA
Nontascolto.
SILLA
Evuoi...
GIUNIA
Svoglio
Detestarti,emorir.
SILLA
Morir?
GIUNIA
LamorteRomanocor
nonteme.
SILLA
Epuoi...?
GIUNIA
Sposso
Priadamarti,morir.
Vanne,tinvola...
SILLA
Superba,morirai,ma
nongisola.

12.No.13Aria
SILLA
Dognipietmi
spoglio
Perfidadonnaaudace;
Sedimorirtipiace
Quellostinato
orgoglio
Prestotremarvedr.
(Mailcormipalpita...
Perderchiadoro?...
Svenarebarbaro,
Ilmiotesoro?...)
Chedissi?Holanima
Vileatalsegno?
Smaniodisdegno;
Morirtubrami,
Crudelmichiami,
Tremare,operfida,
Crudelsar.
(parteconleGuardie)

Scena9Giunia,indiCecilio
13.Recitativo
GIUNIA
Cheintesi,eterniDei?
Qualmaifunesto
Espaventosoarcan
nedettisuoi?
Solanonmorir?Che
dirmivuoi
Barbaro...Ahim!Che
vedo?...
Losposomio?...Che
fu?...Cheavvenne?...
Ahdove
Sconsigliatotinoltri?
Inquestemura
Sai,chenonsicura
Latuavita,enontemi
Direspirarquestaure
Comuniatuoi
nemici?In
questistante
Iltirannoparti.
Tremo...Deh,fuggi...
Ahsedellempioil

ciglio...
CECILIO
Giunia,iltuorischio
lmiomaggior
periglio.
GIUNIA
Dehperpiet,semi
ami,torna,miobene,
Ahtornanel
tenebrosoasilo.
Ilrimirartiqual
martirioperme!
CECLIO
Nonamareggiiltuo
spavento
Ocarailmiodolce
piacer.
GIUNIA
Piacerfunesto,
Seaungelido
spavento
Abbandonailmiocor.
Sedetuoigiorni
Deciderpuo.
Tascondi.Ahda
chevivo
No,cheangustia
simile...
CECILIO
Solavuoi,chiotilasci
Inpredaaunvile?
So,chalsenatoin
facciailreotiranno
Conviolenzaingiusta
Altalamovuoltrati,
Edio,chetamo
Restarpotrsenza
morirdaffanno
Lungidalfiancotuo?
Seinvanounbraccio,
Unacciarosicerca
Persvenareuncrudel,
chodio,edetesto,
Quellacciaro,quel
bracioeccolo
questo..
GIUNIA
Ahim!Chepensi?
esporti?...
Corrertusoloaun
periglioestremo?...
CECILIO
Tupaventiditutto,
Ionullatermo.Frena
iltimor,miaspeme,e
tirammenta,
Chunasoverchia
temaincorRomano
Esserpuotevilt.
GIUNIA
Mailtroppoardire
Temeritsappella.
Ahsticela,
Naccrescere,idol
mio,neltuoperiglio
Nocecangiondi
piantoaquestociglio.
CECILIO
EterniDei!
Lasciarti,fuggire,
abbandonarti

95010MozartCompleteEdition
122

Allempieinsidie,
allira
Duntraditor,challe
tuenozzeaspira?
GIUNIA
Echepuoitemer,se
mecoresta
Lamiacostanza,e
lamormio?Deh
corri,
Corridondefuggisti.
Alsuodolore,
Asuoispaventiinvola
Ilcordichitadora;
Secinonbasta,iotel
comandoancora.
CECILIO
Einquestogiorno
correndo
sealtirannoiomi
cielo,
Chiveglia,osposa,in
tuadifesa?
GIUNIA
Ilcielo!
CECILIO
Ahchetalvoltai
Numi...
GIUNIA
Achetiguida
Ciecofuror?Adonta
Demieitimoriancor
mirestialato?
Partirnonvuoi?
Corroamorire,
ingrato.
CECILIO
Fermati...senti...Oh
Dei!
Cosmilasci,e
brami?...
GIUNIA
Ipassimieiguardati
diseguir.
CECILIO
Saprmorire,
Manonlasciarti.
GIUNIA
(Ohstelle!
Ioloperdo.Chefo?)
CECILIO
Cara,tupiangi?
Ahcheiltuopianto...
GIUNIA
Ahsperquesto
pianto
Perquestilumimiei
dispemeprivi.
Parti,partidame,
celati,vivi!
CECILIO
Achemisforzi!
GIUNIA
Alfine!
Lusingarmipossiodi
questosegno
Deltuoteneroaffetto?
Cherispondi,idol
mio?
CECILIO
Stelprometo.


GIUNIA
Fuggidunque,mio
bene.Invanpaventi,
Sedimetemi.Ah
pensa,
Pensa,chelciel
difendeigiusti,echio
Daltremainonsar.
Dimiepromesse
Dellamormio
costante
Chaborreamorteun
traditoreindegno,
Sposo,nellamia
manoeccotiun
pegno.
Recitativo
accompagnato

14.CECILIO
Chisa,chenonsia
questa
Lestremavolta,oh
Dio?chalsenti
stringo
Destradellidolmio,
destraadorata,
Provadifsincera...
GIUNIA
No,nontemere.
Amami.Fuggiespera.

15.No.14Aria
CECILIO
Ahseamorirmi
chiama
Ilfatomiocrudele
Seguaceombrafedele
Sempresarconte.
Vorreimostrar
costanza
Cara,neldirtiaddio
Manellasciarti,oh
Dio!
Sentotremarmiilpi.
(parte)

Scena10Giunia,indiCelia
16.Recitativo
GIUNIA
Perchmibalziin
seno
Affannosocormio?
Perchsulvolto
Orchelosposoio
nonmivedoaccanto,
Cadedaraipi
copiosoilpianto?
CELIA
Ohciel!slagrimosa
Sdolenteio
tincontro?
Alsuodestino
Quellanimaostinata
alfindehceda
Esposadaldittator
Romadiveda.
GIUNIA
Tacchetaperpiet.
CELIA
Seinduroesigliocade

estintoCecilio,
Aluichegiova
uninutilcostanza?
GIUNIA
(Aquestonome
Sagghiacciailcor.)
CELIA
Tunonmiguardi,eil
labbro
Fraisinghiozzi,
Eisospirpallidotace.
Seguiiconsiglimiei.
GIUNIA
Lasciamiinpace.
CELIA
Bramolietavederti.Il
miogermano
Oggimepurfelice
rendersapr.
Lamanomipromise
diCinna.
Ahtubensai,chio
ladorofedel.
Pinonrammentoi
mieisoffertiaffanni
Sescangianoalfingli
astritiranni.

17.No.15Aria
CELIA
Quandosuglarsi
campi
Scendelapioggia
estiva,
Lefoglie,ifior
ravviva,
Eilbosco,ilpreticello
Tostosifapibello,
Ritornaaverdeggiar.
Cosquestalma
amante
Fralasuadolcespeme
Dopolelunghepene
Cominciaarespirar.
(parte)

Scena11Giuniasola
Recitativoaccompagnato
18.GIUNIA
Inunistanteohcome
Saccrebbeilmio
timor!Purtroppo
questo
Unpresagiofunesto
dellesventuremie!
Lincautosposopi
nonforseascoso
Alreotiranno.A
morte
Eigilocondann.
Fraimieispaventi,
Nelmiodolore
stremo
Chefo?Chepenso
mai?Miseraiotremo.
Ahno,pinonsi
tardi.
IlSenatomivegga.Al
diluipiede
Grazia,epiet
simplori

95010MozartCompleteEdition
123

Perlosposofedel.Sei
melanega
Sichiedaalciel.Seil
ciellultimofine
Delladoratosposo
oggiprescrisse,
Trafiggamechilidol
miotrafisse.

19.No.16Aria
GIUNIA
Parto,maffretto.Ma
nelpartire
Ilcorsiapezza.Mi
mancalanima,
Morirmisento.Nso
morire,
Esmanio,egelo.E
piango,epeno.
Ahsepotessi,potessi
almeno
Fratantispasimi,
morircos.
Mapermaggiormio
duolo
Versounamante
appressa
Divienlamorteistessa
Pietosainquestod.
(parte)

Scena12CampidoglioSavanzaSilla,ed
AufidioseguitodaiSenatoriedallesquadre
20.No.17Coro
CORO
Segloriailcrinti
cinse
Dimillesquadrea
fronte
Orlatremutafronte
QuiticoroniAmor.
Stringaquelbraccio
invitto
Lei,chedatesadora.
Soconimirtiancora
Cresceilguerriero
allor.
(ComparGiuniafrai
Senatori)

21.Recitativo
SILLA
PadriCoscritti,
Iochepugnaiper
Roma,
Io,chevinsiperlei,
Iochelafacedella
civildiscordia
Colmiovaloreestinsi.
Iochelapaceperopra
mia
RegnarsulTebroor
vedo
Dognitrionfomio
premiovichiedo.
GIUNIA
(Soccorso,eterniDei!)
SILLA
Nonignorate
Lanticoodiofunesto
EdiMarioediSilla.


Ilgiornoquesto
Incuituttomiscordo.
Allasuafiglia
Sacrolacciomunisca,
eildolcenodo
Plachilombradel
padre.Undittatore,
Uncittadinfrai
gloriosiallori
Altropremionon
cercaasuoisudori.
GIUNIA
(TaceilSenato,ecol
silenzioapprova
Duninsanoilvoler?)
SILLA
Padrigimiro
Nevoltivostri
espresso
Ilconsensocomun.
Quei,chesudiro
Festosi,gridorisuonar
dintorno
Sondelpublicovoto
Incertosegno.
Seguimiallaraomai...
GIUNIA
Scostatiindegno!
Atalviltdiscende
Roma,elSenato?Un
ingiurioso,unfolle
Timorlastringea
secondardunempio
Leviolenzeinfami?
Ahchefravoi
No,chenonvchiin
petto
Racchiudauncor
Romano...
SILLA
Taci,episaggiaame
porgilamano.
AUFIDIO
Cosperboccamia
TuttoilPopol
timpon.
SILLA
Dunquemisegui...
GIUNIA
Nonappressarti,oin
seno
Questoferro
mimmergo.
(inattodiferirsi)
SILLA
Allasuperba
Lacciarsitolga,e
seguailvolermio.

Scena13Cecilio,conspadanuda,edetti
22.Recitativo
CECILIO
Sposa,ahno,non
temer.
SILLA
(Chivedo?)
GIUNIA
(OhDio!)
AUFIDIO
(Cecilio?)
SILLA

Inquestagiusa
sontraditodavoi?Del
miodivieto
Edelleleggiadonta
TornCecilio,eseco
Giuniaunita
Ditoglierosaal
dittatorlavita?
Quellaudacesarresti!
GIUNIA
Incautosposo!
Signor...
SILLA
Taci,indegna,chomai
Soloascoltoilfurore.
(aCecilio)
Alnovosolepermia
vendetta,
otraditor,morrai.

Scena14Cinna,conspadanuda,edetti
Recitativo
SILLA
Come?Dunferro
armato,
Confuso,irresoluto
Cinnatupur?...
CINNA
(Ohciel,tutto
perduto;
Qualchescampoahsi
cerchi
Nelcimentofatal!)
Conmiostuporecol
nudoacciaro
IovidiCecilioinfrala
schiere
Aprirsiunvarco.La
suarabbia,ifieri
Minacciosiacchisuoi
duntradimento
Mifecerotemer.Onde
salvarti
Daquelladestraal
parricidiointesa
Corsi,elbrando
impugnaipertua
difesa.
SILLA
Ahvanne,amico,e
scopri
Sealtriperfidimai...
CINNA
Sullamiafede
Signorriposa,e
paventarnondei.
(Quasinelfiero
incontro
Iomiperdei!)
SILLA
Olqueltraditore,
Aufidiosidisarmi.
GIUNIA
OhDio!Fermate!
CECILIO
Finchlacciarmi
resta
Saprfarlotremar.
SILLA
Egiungeatantolatua
baldanza?

95010MozartCompleteEdition
124

GIUNIA
(OhDei!)
SILLA
Cedilacciaro,
Ochio...
CECILIO
Losperiinvan.
GIUNIA
Cecilio,ocaro!
CECILIO
Adesservilminsegna
lasposamia?
GIUNIA
Deh,nonoppoti!
CECILIO
Evuoi?...
GIUNIA
Dellatuatenerezza
unaprovavoglio.
CECILIO
Dovr?
GIUNIA
Dovrai
Nellamiafede,
Enelfavordelcielo
Affidarti,esperar.se
ancormiobene
Dubbiosotimostri,i
giustiNumi,
Elatuasposaoffendi.
CECILIO
(Fermo.
Tappagher.)
Barbaro,prendi!
SILLA
Nellaprigionpinera
Traggasiilreo.Per
poco
Questaureatevietate
respirartivedr.Fra
leritorte
Deltradimento
audace
Tupurtipentirai,
donnamendace.
23.No.18Terzetto
SILLA
quellorgoglioso
sdegno
Oggiumiliarsapr.
CECILIO
Nonlosperare,
indegno,
Listessoognorsar.
GIUNIA
Eccoti,osposo,un
pegno,
Chalfiancotuo
morr.
SILLA
Empilavostramano
Meritasolcatene.
GIUNIAECECILIO
Semiamailcarobene
Lieto(Lieta)amorir
menvo.
SILLA
Questacostanza
intrepida
Questosfidoamore
Tuttomistraziailcore


Tuttoavvamparmifa.
GIUNIAECECILIO
Lamiacostanza
intrepida
Ilmiofedeleamore
Dolceconsolailcore
Nepaventarmifa.

AttoTerzo(CD143)
Scena1Atrio,cheintruduceallecarceriCecilio
incatenato,Cinna,Guardieavista,indiCelia
1.Recitativo
CINNA
Ahstusolo,amico
Ritenestiilgrancolpo.
Erannonlungi
AlCampidoglioascosi
Gliamicituoi,gli
amicimiei.Seguito
Voleadaquestiinfra
leschiereaprirmi
Sanguinososentier.
Malaprudenza
Ilfurormoder.Di
tantiafronte
Chefarpoteacintoda
pochi?Ilcielo
Novoardirmispir.
Gliamiciiolascio,
Tacitoilferroio
stringo,ein
Campidoglio
Mavanzo.Allorch
voglio
Vibrareilcolpo,inte
maffiso.Ilferro
Nellamanmitrem.
Neltuoperiglio
Gelossiilcor.
Marresto,mi
confondo
Nonsochedir.Quasi
ilsegretoarcano,
Iltirannosvel.Mail
suocomando,
Chedipartir
mimpose,
Laconfusioneeilmio
doloreascose.
CECILIO
Giacchmorirdeggio
Morasialfin.Solmi
spaventa,ohDei!
Lasposamia...
CINNA
Nonpaventardilei.
Entrambiiosalver.
CELIA
DascoltarGiunia
Mensdegnoso,emen
fiero
Mipromiseilgerman.
CECILIO
Giuniaalsuopiede?
Eperchmai?
CELIA
Desadiplacarnelo
sdegno.
CECILIO
Invanlobrama.

CINNA
Odimi,Celia.questo
Forseilmomento,
ondillustrartupuoi
Conoprasublimii
giornituoi.
CELIA
Chefardeggio?
CINNA
Mnoto
Aprovagituttoil
poter,chevanti
SulcordiSilla.Alui
taffretta,edilli
Cheaborritodalcielo,
inodioaRoma,
Seinsestessonon
torna,esenonscorda
Unciecoamore
insano
Leccidiosuofatalnon
lontano.
CELIA
Dunqueilgerman...
CINNA
...incontrerlamorte
Senonsarrendeaun
talconsiglio.
CECILIO
Ahtutto,tuttoinutil
sar.
CELIA
Tentareiovoglio
Ladifficileimpresa,e
seaverponno
Lemiepreghiereillor
bramatoeffetto?
CINNA
Ladestrain
guiderdoneioti
prometo.
CELIA
Uncosdolcepremio
Pianimosamifa.Me
fortunata,
Sefraunorrors
periglioso,etristo
Salvoilgermano,el
caroamanteacquisto.

2.No.19Aria
CELIA
Stridersentola
procella
Nrisplendeamica
stella
Pureavvoltaintanto
orrore
Lasperanzacoll
amore
Mistasemprein
mezzoalcor.
(parte)

Scena2Cecilio,eCinna
3.Recitativo
CECILIO
Forsetucredi,amico
CheCeliagiungaa
raddolciruncore
Usoallestragi,

95010MozartCompleteEdition
125

Echetalordisdegno
Ingiustamente
furibondo,edebro
Frosseggiardicivil
sangueilTebro?
CINNA
SoquantoCeliapuote
Suquellalma
incostante,eGiunia
ancora
Forseplacarpotria
Collelagrimesue...
CECILIO
Lasposamia
Aqualcheinsulto
amaroininvan
sespone.
Unempio,un
inumanononsi
cangiaspresto.
Ondeabbandoniil
sentierdeldelitto
Cheisuolcalcarper
lungosuocostume,
Civolleognortuttoil
poterdunNume.
Ahnopinonmi
resta
Nspeme,npiet.
Lafflittasposa
Tiraccomando,
amico.Inprodilei
Veglilatuaamist.
Delmionemico
Vittima,ahno,non
sia.Neldiluisangue
Vendicalamiamorte,
elmiospirito
sdegnoso
Nelregnodeglestinti
avrriposo.
CINNA
Ognipensierdimorte
Seallontanidate.Seil
cordiSilla
Controaldovere,e
allaragionsostina,
Sullapropriarovina,
Nesuoiperigliesremi
Quellempiosolo
impallidisca,etremi.

4.No.20Aria
CINNA
Depisuperbiilcore
SeGioveirato
fulmina,spavento
ingombra,
Madunalloro
allombra
Nanpalpitailpastor.
Paventinoitiranni
Lestragi,eleritorte,
Solridainfacciaa
morte
Chihasenzacolpeil
cor.
(parte)


Scena3Cecilio,indiGiunia
5.Recitativo
CECILIO
Ahno,cheilfato
estremo
Terrorpermenonha.
Solpiango,egemo
Fralingiustecatene
Nonperlamortemia,
perilmiobene.
GIUNIA
Ahdolcesposo...
CECILIO
Ohstelle!
Cometuqui?
GIUNIA
Maperse
Laviafraquestorrore
Lamiafede,ilmio
pianto,ilnostro
amore.
CECILIO
MaSilla...Ahparla.E
Silla.
GIUNIA
Lempiomilascia...
OhDio!
Milascia,chtidia...
lultimoaddio.
CECILIO
Dunquenonvper
noi
Npiet,nsperanza?
GIUNIA
Alfiancotuosoldi
morirmavanza.
Chenontentaifinor?
Querele,epianti,
Sospiri,affanni,e
prieghisonoinutili
omai
Perquelcore
inumano
Chechiedeolatua
morte,olamiamano.
CECILIO
Dellamiavitail
prezzoesserpula
tuaman?
Giuniafrattantoche
mairesolver?
GIUNIA
Morirtiaccanto.
CECILIO
Etupermevorrai
troncardisbe
giorni...
GIUNIA
Edeggio,evoglio
Tecomorir.Aquesto
passo,ocaro,
Mobbliga,mi
consiglia
Lamordisposa,edil
doverdifiglia.
SCENA4
AufidioconGuardie,
edetti
6.Recitativo
AUFIDIO
Tostoseguirtudei

Cecilioipassimiei.
CECILIO
Forseallamorte...
Parla...dimmi...
AUFIDIO
Nonso.
CECILIO
Prende,miaspeme,
Prendilestremo
abraccio...
GIUNIA
(adAufidio)
Rispondi...Ohciel!
AUFIDIO
Sempreobbedisco,e
taccio.
CECILIO
Ahnonperdiam,mia
vita,
Unpassaggeroistante,
Vheneporgeildestin.
Parto,tilascio,
Einstenero
amplesso
Ricevi,animamia,
tuttomestesso.
GIUNIA
Ahcarosposo...Oh
Dei!
Seucciderpuil
martiro,
Perchvicinaate,
perchnonmoro?
CECILIO
Quelpianto,ohDio!
Ahsquelpianto
Nonsaicomenel
seno...Ahim!tibasti,
ocara
Stibastiilsaper,che
inquestoistante
Pidunmorir
tiranno
Quellelagrimetuemi
sondaffanno.

7.No.21Aria
CECILIO
Pupilleamate
Nonlagrimate
Morirmifate
Priadimorir.
Questalmafida
Avoidintorno
Farritorno
Scioltainsospir.
(parteconAufidio,e
Guardie)

Scena5Giuniasola
Recitativoaccompagnato
8.GIUNIA
Sposo...miavita...Ah
dove,
Dovevai?Nonti
seguo?Echiritiene
Ipassimiei?Chimisa
dir?...Maintorno
Altro,ahilassanon
vedo
Chesilenzio,edorror!

95010MozartCompleteEdition
126

Listessocielo
Pinonmascolta,e
mabbandona.Ah
forse,
Forselamatobene
Gidallerottevene
Versalanima,el
sangue...Ahpriachei
morra
Suquellaspoglia
esangue
Spirarvoglio...Che
tardo?
Disperataacheresto?
Odo,omisembra
Udirdifiocavoce
Languidosuon,cha
smichiama?Ah
sposo
Seintronchisensi
estremi
Delabbrisuoison
questi
Corro,voloacader
dovecadesti.

9.No.22Aria
GIUNIA
Fraipensierpi
funestidimorte
Vederparmilesangue
consorte
Checongelidamano
maddita
Lafumantesanguigna
ferita
Emidice:chetardia
morir?
Givacillo,gimanco,
gimoro
Elestintomiosposo,
chadoro
Ombrafidamaffretto
aseguir.

Scena6Salone,Silla,Cinna,eCelia
10.Recitativo
SILLA
Celia,Cinna,nonpi.
Roma,elSenato
Dimiagiustizia,edel
delittoaltrui
Ilgiudicesar.
CINNA
Pichenoncredi
DiCeciliolavita
necessariaesserpuote.
CELIA
Igiornituoi...
LadisperataGiunia...
ilsuoconsorte
Credutoestinto,
Eallesuebracciaor
reso.
SILLA
Schognorpi
lodiocomunmhan
reso.
Maundittatortradito
Vuolvendetta,e
lavr.


Stancosonio
Ditemersempre,e
palpitar.
Lavitaagitata,ed
incerta
Fraunbarbaro
spavento
unviverpermorire
ognimomento.
CELIA
Ahsperiinvan,se
speri
Frauneccidio
funesto,esanguinoso
Trovarlasicurezza,ed
ilriposo.
CINNA
LafuriosaGiunia
correretuvedrai
Adassodarlevie
Diquerele,edilai.
Destareinpetto
Pudenemicituoi
quellagrimoso
ciglio...
SILLA
Vedopichenon
pensiilmioperiglio.
Amor,gloria,
vendetta,sdegno,
timore,
Iosentoaffollarmisial
cor.Ognunpretende
Dacquistarelimpero.
Amorlusinga.
Mirapognalagloria.
Iramaccende.
Freddotimor
magghiaccia.
Manimalavedetta,e
miminaccia.
Defieriassaltiin
preda,alladifesa
accinto,
DiSillailcorfia
vincitore,evinto?
Malattoillustre
alfine
Deciderdee,sio
merto
Quelgloriosoalloro,
Chemiadombrala
chioma,
Egiudicenevoglioil
Mondo,eRoma.

Scena7GiuniaconGuardie,edetti
Recitativo
GIUNIA
Animavil,daGiunia
Chepretende?Che
vuoi?Roma,el
Senato
Neltollerareun
traditoreingegno
stupido,einsensato
aquestosegno?
PadriCoscritti
innanziavoiqui
chiedo
Evendetta,epiet.

Pietadeimplora
Unasposainfelice,e
vuolvendetta
Duncittadino,edun
consorteesangue
Lombra,chenuota
ancorainmezzoal
sangue.
SILLA
Calmaglisdegnituoi,
tergiilbelciglio.
Inutilequelpianto.
Evanoiltuofuror.
Demieidelitti
Dellamiacrudeltadea
Romainfaccia
Spettatricetivoglio,e
inquestoloco
DiSillailcor
conosceraifrapoco.

Scena8Cecilio,Aufidio,Guardie,edetti
11.Recitativo
GIUNIA
(Losposomio?)
CINNA
(Chemiro?)
CELIA
(Equalearcan?)
CECILIO
(Chefia?)
SILLA
Roma,ilSenato
Elpopolomascolti.
Avoipresento
Uncittadinproscritto,
Chedisprezzarleleggi
Osfurtivo.Ei,che
dunferroarmado
InCampidoglioalle
miesquadreappresso
Tentsvenareil
dittatoreistesso.
Graziaeinoncerca.
Anzidimenonteme
Emoltraggia,e
detesta.Eccoil
momento
Chedecidedilui.Silla
quiadopri
Lautorit,cheRoma
Alsuobraccioaffid.
Giuniamisenta
Eminsulti,sepu.
QuellempioSilla
Quelsuperbotiranno
atuttodioso
VuolchevivaCecilio,
esiatuosposo
GIUNIA
Esarver?...Mia
vita...
CECILIO
Fidasposa.qual
gioia...
Qualcangiamento
questo?
AUFIDIO
Chefu?
CELIA
LodiagliDei.

95010MozartCompleteEdition
127

CINNA
Stupitoresto.
SILLA
Padricoscritti,orda
voicreco,evoglio
Quantoverglamano
inquestofoglio.
Decittadinproscritti
Eituttiinomi
accoglie;
Ciascunritornialle
paternesoglie.
CECILIO
Oh,comedegnoorsei
Delsupremosplendor
fracuitusiedi!
GIUNIA
Costrettaad
ammirartialfin
Mivedi.
AUFIDIO
(Ahchelamiarovina
Certaprevedo!)
SILLA
Inmezzo
Alpublicopiacer,fra
tantelodi,
Chognilabbrosincer
prodigaaSilla,
EperchCinnail
solo,
Cheinfraocculti
pensierconfusogiace,
Edivisodame
sospira,etace?
Fedeleamico...
CINNA
Ahlascia
Dichiamarmicos.
Peropramia
TornCecilioaRoma.
InCampidoglio
Pertrucidartiiocorsi,
earmainonlungi
Dicentoanimeaudaci
Elamano,elardir.Io
sollefaci
Adannituoidella
discordiaaccesi...
SILLA
Tuabbastanzadicesti
Iotuttointesi.
CELIA
(Dolcisperanze
addio!...)
SILLA
Lapenaorsenti
Dognitramaascosa.
Celiagermanamia
sartuasposa.
GIUNIA
Bellavirt!
CECILIO
Chegenerosocore!
CINNA
Equale,ohgiusto
cielo,misaccendesul
volto
Vergognosorossor?
Comepossio...


SILLA
Quelrimorsomi
basta,
Etuttooblio.
CELIA
(Melieta!)
Ahpremiaalfineil
miocostanteamor.
Dellaclemenza
mostrartidegno,
Ediquelcoreumano
lavirt,lapietade...
CINNA
Eccolamano.
SILLA
Qualdetrionfimiei
Eguagliarpotr
questometerniDei?
AUFIDIO
Lascia,chapiedituoi
Graziaimploridate.
Demieiconsigli,
Dellemielodi
adulatriciorsono
pentito...
SILLA
Aufidio,sorgi.Ioti
perdono.
Coslodevolopra
Coronisidame.
Romani.
Dalcapomiositolga
Ilrispettatoalloro,e
trionfale;
Pidittatornonson.
sonvostrouguale.
EccoallaPatriaresa
Lalibertade.Ecco
asciugatoalfine
Ilcivilpianto.Ahno,
chelmaggiorbene
Lagradezzanon.
Madresoltanto
ditimor,diaffanni
Difrodi,etradimenti.
Anziperlei
Ciecomortaldalla
calcatavia
Digiustizia,epiet
spessotrava.
Ahsconoscoaprova
Cheassaipigrata
allalma
Dunmenzognerela
virtdelcore.

12.No.23Finale
CORO
IlgranSillaaRomain
seno
Cheperluirespira,e
gode
Dognigloria,edogni
lode.
Vincitoreoggisifa.
GIUNIAECECILIO
Solperluilacerba
sorte
permefelicit!
CINNAESILLA
Ecalpestaleritorte

Lalatinalibert.
CORO
IlgranSilladogni
lode
Vincitoreoggisifa.
TUTTI
Trionfdunbasso
amore
Lavirtude,elapiet.
SILLA
Iltrofeosulproprio
core
Qualtrionfo
uguaglier?
CORO
SeperSillain
Campidoglio
LietaRomaesulta,
gode
Dogniglora,edogni
lode
Vincitoreoggisifa.

LAFINTAGIARDINIERA(CD144146)
"DieGrtnerinausLiebe"(Germanversionof:
"Lafintagiardiniera"K.196)
I.AKT:SZENE1,2,3,4,5,6,7,8,9,10,11,12,
13,14
II.AKT:SZENE1,2,3,4,5,6,7,8,9,10,11
III.AKT:SZENE1,2,3,4,5,6

II.AKTLieblicherGartenmiteinerbreiten
TreppevordemPalastdesPodest.
Szene1DerPodest,RamiroundSerpetta,
SandrinaundNardo,GrtnerundGrnterin
N.1Introduktion
CHOR
Welchesvergngen,welchfroheTage,
welchshneGegend,welchfroheTage,
WonneundLiebeverbreitensichhier!
RAMIRO
Verbog'nesLeidenmachtmichverzagen,
meinHerzempfindetstetsneuePlagen,
Freud'undZufriedenheitfliehenvonmir.
DERPODEST
DasschnstenMdchensichzugewinnen,
lieblicheLiederihrzuersinnen,
nurfrSandrinenmeinHerzistbewahrt.
SANDRINA
Ach,welcheSchwermutdrcktmeineSeele,
daichmitSorgenmeinHerznurqule,
VerfolgtdasSchiksalwohljemandsohart?
NARDO
(ausSerpettadeutend)
Siewiderstrebt,michnuranzusehen.
AufWeibertreueistnichtzugehen,
dasistjamnniglichgarwohlbekannt.
SERPETTA
IndieseBuhlerinistervernarret,
stehtunbeweglichdaundfasterstarret.
(aufdenPodestdeutend)
Sollt'erbetrgenmich,qulichihntot.
RAMIRO
MeinbittresLeidenmuichverhehlen.
DERPODEST
GutesSandrinchen,nichtssolldich
qulen.
SANDRINA
SovielHoldseligkeitbinichnichtwert.

95010MozartCompleteEdition
128

RAMIRO
Wirdsichwohlendenmeinherbes
Leiden?
DERPODEST
VondieserSchnheitkannichnicht
scheiden.
SERPETTA
DerMnnerFalschheitistganz
unerhrt.
CHOR
Welchesvergngen,welchfroheTage,
welchshneGegend,welchfroheTage,
WonneundLiebeverbreitensichhier!

N.2Arie
RAMIRO
ScheuistdasfreieVglein,
wennesdemNetzentschlpfet,
flattertundsingtundhpfet
zumzweitenmalhinein.
O,wasdasNetzdemVogel,
bistdudemHerzen,Liebe!
Baldscheu'nwirdeineTriebe,
baldsindwirwiederdein!

Szene2
N.3Arie
DERPODEST
ZumeinemOhrerschallet
daslieblicheErtnen
derFlteundOboe
daLustmichganzdurchwallet.
durchbebtvonsenWeh!
Dochwie,wasmuichhren,
welchschwarzeHarmonie,
diemicherzitternmacht!
EssindjanurdieBrastchen
mitdst'rerMelodie,
diemichinAngstgebracht.
NunkommteingroesLrmen
vonPaukenundTrompeten,
vonBssenundFagotten,
dasmichfastnrrischmacht..

Szene3
Szene4
N.4Kavatine
SANDRINA
WirMdchensindsehrbeldran
undhabenwenigFreuden.
DieMnnertununsheutzutag
GewaltundUnrechtan,
wennsiegleichmitGefhlen
vonLieb'undEhrespielen,
unsheuteTreuversprechen
undmorgenwiederbrechen.
Undwashateszusagen,
wernennteseinVergeh'n?
WennmitGefhlen
gleichMnnerspielen,
washatesdennzusagen?
wernenntdaseinVergeh'n?
Alleinwennwirzuweilen
nungleicheMnzausteilen,
sotnenlauteKlagen,
soist'sumunsgescheh'n!
Ach,wiebelsindwirdran!
WirarmengutenMdchen,
wirhabenwenigFreuden,
dennnichtsalsUnrecht,


nichtsalsGewalt
tunheutzutagdieMnnerunsnuran!

Szene5
N.5Arie
NARDO
DerHammerzwingtdasEisen,
erweichtdurchFeuerhitze,
derMarmorltsichformen
durchscharfeMeielspitze!
Dochwerkannmirerweisen,
daHammeroderEisen,
daselbstdasLiebesfeuer
hab'jemalsberwunden
derWeiberEigensinn?
SindwirnichtalleNarren,
rechtblinde,dummeNarren,
betrogendurchdieWeiberlist?
Verachtetsie,verspottetsie,
verlachetsieundfliehetsie,
siesindkein'Teufelwert.

Szene6
N.6Arie
DERGRAF
WelcheinReizindiesemBilde,
welcheinBlickvollGlutundMilde!
SostrahltnimmerdieMorgensonne.
Ach,nochimmervollvonWonne,
trauichmeinenAugenkaum.

N.7Arie
ARMINDA
WenndieMnnersichverlieben,
schwrensiesehrleichtdieTreu,
unddurchschmeichelndesEntzcken
lteinMdchensichbercken,
glaubtgeschwind,daessosei.
Sieglaubtes,
dochbeimirgehtesnichtso.
Vormuallesrichtigstehen,
eh'ichsagjaodernein.
SiealleinnursindmeinLeben,
Ihnenwillichmichergeben.
WennSieabermichbelgen,
nachderModemichbetrgen,
rch'ichmichmiteig'nerHand.

Szene7
N.8Arie
DERGRAF
HiervomOstenbiszumWesten,
dortvomSdenbiszumNorden
istschonlngstbekanntgeworden
unserhochberhmtesHaus.
IchhabGter,Lehenstrger,
Stdte,Dfter,groeSchwger.
Frsten,Grafen,Generalen,
Kaiser,Knig,Admiralen,
Diktatoren,Brgermeister,
HeldenRomsundgroeGeister
zhltmeinStammbaumohneZahl!
DochzumTeufel!Warumlachtihr?
WelcheZweifel?Wolltihrsiesehen?
HieristNuma,dortistScipio,
MarcAurelundMarcAgrippa,
MutioScaevolaundderCato.
AuchdergroeAlexander
istmeinnchsterAnverwandter.
MitdergrtenEhrfurchtbcketeuch,
nurgeschwindbaldhin,baldher.

Szene8
N.9aKavatine
SERPETTA
DasVergngenindemEh'stand
mcht'ichgernebalderfahren,
docheinMann,derschonbeiJahren,
taugtinWahrheitnichtfrmich.
N.9bKavatine
NARDO
DasVergngenindemEh'stand
wnschestdubaldzuerfahren,
docheinMannnochjungvonJahren
taugtinWahrheitnichtfrdich.
N.10Arie
SERPETTA
Sobaldsiemichsehen,
sosindsiegefangen.
Sierennenundlaufen,
meinHerzzuerlangen.
VonLiebebercket,
derstetsumsichblicket
undruftimmerda,
undeinandererdort:
BewundertdieAugen
desenglischenKindes;
wieartig,wielebhaft,
ihrAnstandundFarbe,
michrhretdieSchne,
wennichsiebetracht'.
IchschlagedieAugenganzzchtig
darnieder,
undschweigezuallem,imStillen
bedacht.

Szene9
N.11Arie
SANDRINA
FernevonihremNeste,
irrendauffremdenHeiden,
sehntsichnachRuh'undFreuden
diesanfteTurteltaube,
girretundklagtihrLeid.

Szene10
N.12FinaleDerGrafundSandrina
DERGRAF
(nhertsichSandrina)
Himmel,binichvonSinnen?
Violante!sielebtnoch?oSchmerz!
ngstlichbebtmeinHerz!
Ach,neuePeinundSchmerz!
SANDRINA
(InderOhnmachtbewegtsiesich,
flltdannwiederindieOhmacht
zurck)
Ach,Undankbarer,sehemich
ausLiebesterben.
DERGRAF
DieStimmeViolantes
undauchViolantesZge!
DochwassolldieseKleidung?
Ichknntemichnochirren,
ichmusienhersehn.
SANDRINA
(kommtwiederzusich)
Ach,dabermichArme
derHimmelsicherbarme!
DERGRAF
Ja,ja,sieistes,
sieisteswirklich!
MirschwindetallerMut.

95010MozartCompleteEdition
129

SANDRINA
(bemerktdenGrafen)
Wasseh'ich?DerGraf?OHimmel!

Szene11Arminda,RamiroundVorige
ARMINDA
(kommtmiteinemRiechflschen)
NehmethierBalsamsulfuris.
RAMIRO
HerrGraf,mitIhrerErlaubnis...
ARMINDA
Ramiro!
RAMIRO
Arminda!
ARMINDA,RAMIRO
(Waswerd'ichtun?)
DERGRAF
(heimlichzuSandrina)
Sagmir,werbistdu?
SANDRINA
(Wassagich?)
RAMIRO
(zuArminda)
Grausame!
ARMINDA
(Waszutun?)
SANDRINA,ARMINDA,RAMIRO,
DERGRAF
OunerhrtesSchiksal!
DieserverdammteZufall
quletmichfastzuTod!
DERGRAF
(VollerZweifelsteh'ichschwankend,
weinicht,obichwachendtrume.
AllmeinDenkenistverwirrt.)
SANDRINA
(Ichempfind'inmeinemHerzen
unermelich,bitt'reSchmerzen,
diemichweinen,seufzenmachen.)
RAMIRO
(MeineSinnesindbetret,
vondemZufallganzzerstret.
IchverlieredenVerstand!)
ARMINDA
(Ichweinicht,washiergeschehen,
meineSinnemirvergehen,
zitternd,bebendsteh'ichda.)
SANDRINA,ARMINDA,RAMIRO,
DERGRAF
(MeineRuheistganzverschwunden,
mirstocktjedesWortimMund.)

Szene12DerPodestundVorige
DERPODEST
WelcheStille,welcheMienen!
MachtihretwahierKalender?
(zuSandrina)
hastdudeineSprach'verloren?
IstderMunddirzugefronen?
(zuallen)
Nun,sosprecht,wasgehthiervor?
SANDRINA
(Kannich'ssagen?)
DERGRAF
(Kannich'swagen?)
RAMIRO
(WelcheFrage!)
ARMINDA
(Ichverzage!)
DERPODEST
Allesistmirunbegreiflich!


Hieristetwasvorgegangen,
mitderSprachenurheraus!
RAMIRO,DERGRAF
(jeweilszuArmindabzw.Sandrina)
Bistdudiese?
SANDRINA,ARMINDA
(jeweilszumGrafenbzw.Ramiro)
Bistdujener?
SANDRINA,ARMINDA,RAMIRO,
DERPODEST,DERGRAF
MeinVerstandistganzverwirret,
ngstlichpochetmirdasHerz!
(AlleauerdemPodestab)

Szene13DerPodest,dannSerpettaund
Nardo
DERPODEST
WoistdiedieEhrfurcht,diemir
gebhret?
Mich,denHochweisen,deralles
regieret,
ltmanhierstehenwieeinenNarr'n!
GehetzumTeufel,machtmirnicht
bange.
IchwillnichtswissenvoneuremRange,
vonDespotismusundAdelstand!
(wirdimAbgehenvonSerpetta
aufgehalten)
SERPETTA
Lustig,ichbringeEuchhbsche
Nachricht:
DasGrtnermdchenmitihremGrafen
kssenundkossen,untenimGarten,
mitallerFreiheit,ruhigundstill.
DERPODEST
TeufelundHlle!Dassollt'ichleiden!
(willabgehen,wirdjedochvonNardo
aufgehalten)
NARDO
GlaubtnichtandieLgendeslosen
Mdchens,
siewilleuchschickenindenApril!
SERPETTA
HierdieseAugen,hierdieseOhren
muessehen,konnteneshren!
NARDO
SchrecklicheLgen,siezubetren.
DERPODEST
Gleichberzeugetmich!
SERPETTA
Kommtnurmitmir!
DERPODEST
Gleichberzeugetmich!
NARDO
Kommtnurmitmir!
SERPETTA
Mitmir!
NARDO
Mitmir!
SERPETTA
Erkannnurlgen!
NARDO
Undsiebetrgen!
DERPODEST
Qulemichtot,widrigesSchiksal!
Sehetverspottetundhintergangen
jenenberhmtenMann,denPodest!
SERPETTA,DERPODEST,NARDO
Wirwollengehenundnungleichsehen.
DieWahrheitzeigetsichdortoderda.

Szene14SandrinaundderGraf,dennder
Podest.SerpettaundNardoaufdereinen
SeiteinbeobachtenderHaltung,Armindaund
RamiroaufderanderenSeite.
SANDRINA
(zumGrafen)
WasistdennIhrverlangen?
Ichbingenuggequlet!
Siehabenschongewhlet
ArmindasschneHand.
DERGRAF
(zuSandrina)
Ladicherbitten,rede,
sosag'daseineWortmir!
Sag',bistduViolante,
derganzmeinHerzgehret?
SERPETTA
(zumPodest,indemsieaufSandrina
unddenGrafenzeigt)
Sieseh'n,mitwelcherZrtlichkeit
DieHeuchlerinihmschmeichelt.
DERPODEST
Ichseh'es!dasieerblasse!
Ichrchemichanihr.
NARDO
(DerGraf!achwelcheinZufall!
Wiehelf'ichihrheraus?)
SANDRINA
(zumGrafen)
SiesindingroerIrrung!
DERGRAF
(Himmel,welcheineVerwirrung!)
ARMINDA
(zuRamiro)
Ihr'HinterlistundMeineid
hatIhrenStandentehrt!
RAMIRO
(zuArminda)
DasHerz,dasSiebelebet,
nurschwarzeFalschheitnhrt.
SANDRINA
(entschlossenzumGrafen)
Grausamer!ohneSchonen
kannmansoschlechtbelohnen
meinzrtlichtreuesHerz?
NennemirmeinVerbrechen,
dannmagstdeichanmirrchen,
FhlloserohneEhre!
DERGRAF
Allesichlngstbereute!
Teure,achverzeihe!
HimmlischeViolante!
SANDRINA
HimmlischeViolante!
NunaberistViolante,
dasarmeKinddahin!
OHimmel!Sieisttot!
(DerGrafknietvorSandrinanieder;
indieserHaltungwirdervonden
anderenberrascht.)
DERPODEST
GebtmirAntwort!
ARMINDA
Sprechtnurwieter!
RAMIRO
Graf,hbschmunter!
SERPETTA
Nichtgezittert!
NARDO
(Wowillallesdiehinaus?)

95010MozartCompleteEdition
130

SANDRINA
(Allesmuichschweigenddulden!)
DERGRAF
(Ach,siebetmeinVerschulden.)
SERPETTA,ARMINDA,RAMIRO,DERPODEST,
NARDO
Allesschweigen,wasgeschieht?
ARMINDA
(ironischzumGrafen)
Graf,dieLieb'wirdsieverzehren!
DERPODEST
(ironischzuSandrina)
SolcheEinfaltmumanehren!
RAMIRO
(ironischzuArminda)
IcherfreuemichmitIhnen!
SERPETTA
(ironischzuSandrina)
WelcheunschuldsvolleMienen!
SERPETTA,ARMINDA,DER
PODEST
Lebtvergngt,verliebteSeelen!
SERPETTA,RAMIRO,NARDO
NiemalssolleinGeisteichqulen.
ARMINDA,SERPETTA,RAMIRO,DERPODEST,
NARDO
Steigtherab,ihrLiebesflammen,
undverbrenntzuStaubihrHerz!
SANDRINA,DERGRAF,DERPODEST,NARDO
bermichschlgthierzusammen
allesUnglckundallerSchmerz.
ARMINDA
(zornigzumGrafen)
Unmensch,Verbrecher,Verrter!
KnntichdeinHerzinStcke
zerreien!
RAMIRO
DengroenEiferundihreHitze
begreif'ichnicht.
DERPODEST
(wtendzuSandrina)
KannstmeineGtesowenigschtzen?
SERPETTA
(aufSandrinadeutend)
Knnt'ichsieausdemHausmit
Hundenhetzen!
NARDO
BeidiesenHandeldieFrag'mir
gebricht.
SANDRINA
Ach,welchesHerzenleid!Ach,welches
Unglck!
Waskannichsagen?niedergeschlagen
vonsolchenHerzenleidundsolchen
Schmerz!
DERGRAF
Welchset'nesAbenteuer!WelcheSzene!
Ichlieb'dieEine,lieb'auchdieAnd're...
Dochichkanneinernurschenkenmein
Herz.
SANDRINA,SERPETTA,ARMINDA,RAMIRO,
DERGRAF,DERPODEST,NARDO
WelcheVerwirrung
ohn'alleRettung!
DerZornzernagetmitdasHerzim
Busen.
NichtsdmpfetdieseGlut,
nichtshemmtdieWut!


II.AKTHalleimPalastdesPodest
Szene1Armindaallein
N.13Arie
ARMINDA
UmdeineStraf'zufhlen,
riss'ich,dieWutzukhlen,
dirBs'wichtmitEntzcken
deinfalschesHerzinStcken,
liebt'ichdichnichtsosehr.
LohnestdusodieLiebe
undmeinesHerzensTriebe?
Ach,ichkannnichtentscheiden,
obRach'obLiebesiegt!

Szene2NardoundSerpetta
N.14Arie
NARDO
NachderwelschenArtundWeise
sprichtmanso:"Ah,quelvisetto
m'hainfiammatoilcoreinpetto
chelanguireognormifa!"
(Serpettagibtihmzuverstehen,
daihrseineGezierheitnichtgefllt.)
Bistdunichtzufrieden?
Nunsohr'einKompliment
aufgutfranzsich!
"AhMadame,votreserviteur,
ahMadame,detoutmoncoeur."
(Serpettawieoben.)
Undauchdiesgeflltdirnicht?
Nunlatunsaufenglischseh'n.
"Ahmylife,prayyou,sayyes!"
(Serpettawieoben.)
DasistjazumTeufelholen!
IchmudieGeduldverlieren.
Wederenglisch,nochfranzsich,
wederdeutsch,nochitalienisch,
garnichts,garnichtsstehtihran.
Odaseigensinn'deMdchen,
garnichtsistihrrechtgetan!
(NardoundSerpettagehenab)

Szene3SandrinaundderGraf,spterder
Podest
N.15Arie
DERGRAF
LamichinsAuge,
insAugedirschauen!
AchwendedenBlickmirzu.
Achlainihmmichlesen,
dadumirganzvergeben.
(Sandrinawillgehen)
Bleibe,seinichtsograusam.
WiehartistdeinGebot!
(Sandrinafordertihnauf,fortzugehen)
Ichgehe,vergideinZrnen.
WiehartistdeinGebot!
Docheh'ichmicherferne,
lamichdasGlckgenieen,
dieschneHandzukssen,
danngeh'ichgernindenTod!
Ach,welcheLustempfindeich!
OschneHand,ichkssedich!
DerVenuswahresEbenbild.
(DerPodestistunbemerktaufgetreten.
AlsderGrafdieHandSandrinas
nehmenwill,
ergreifterdiedesPodest)
MeinHerr,michfreut,Siehierzusehen.
BefindenSiesichwohl?

(SomumirdieseStreichgescheh'n!
DaihnderTeufelhol!)

Szene4DerPodestundSandrina
N.16Arie
SANDRINA
Esertntundsprichtganzleise
hierimHerzeneineStimme:
DeinGebieter,wirstdufinden,
istganzGromut,Lieb'undHuld!
ScheintauchschonseinBlickvoll
Grimme,
osohegterdochBeweise
sanftenMitleidsundGeduld.
Ach,erfliehtmich,willnichthren,
ltmichseinenZornempfinden.
AngstundKummermichverzehren,
undbaldwerd'ichnichtmehrsein!
HoldeMdchen,habtErbarmen,
undwenneuchmeinUnglckrhret
undihrregesMitleidspret,
sogewhretdochmirArmen
eurenTrost,michzuerfreu'n!

Szene5DerPodest,dannRamiro
N.17Arie
DERPODEST
Wie?Was?einFrulein?undmeine
Nichte?
Reich,schnvonAngesicht!vonhohem
Stande!
Wie?diesesollt'ichnuntraurigsehen?
Nein,dieseHeiratkommtgarnicht
zustande
undallerEhvertragistnullundnichtig.
Ja,ja,somuessein,nundann,essei!
Manwrd'michtadelnimganzen
Lande.
FreinenAmtmannwr'sewig
Schande.
DeutschlandsundSpaniensund
FrankreichsDichter,
mich,einenEdelmann,mich,einen
Richter,
wrdensieschelteninderGeschicht'!
SparteureWorte!allesistrichtig.
Ja,ja,somuessein,esbleibtdabei!

Szene6Ramiroallein
N.18Arie
RAMIRO
Ach,schmeichelhafteHoffnung,
GefhrtintreuerLiebe,
dustrkestmieneTriebe
undtrstestmichallein.
Dirbinichganzergeben,
dirdankeichmeinLeben,
nurdukannstdieBelohnung
jetztmeinerTreuesein.

Szene7DerPodest,ArmindaundderGraf,
spterSandrina
Szene8DerGrafallein
N.19RezitativundArie
DERGRAF
Verweildochundhr'mich!
Siegehtundsttmichvonsich.
Nun,siegehe!
Dochsachte!Wasistmir?
DieErdewanket!
EinschwarzerNebel

95010MozartCompleteEdition
131

umdunkeltschonmeineBlicke!
Ist'sSturm?sind'sSchatten?
DieNachtkommt,wieschaurig!
Arminda!Violante!
WolltihrdennmeinenTod?
Nurzu,meineSchnen!
Icherleideihngern!
Jedoch,ihrweinet?
WozudenndieseTrnen?
Ichsterbegern!
HrtdenDonner,sehtdieBlitze!
Ihrschleudertsiesufmichherab!
Owiedankichdie,gtigerHimmel!
Ohilf,vondirnurerwarteichRettung.
Freunde,Geliebte!beweintmich!
Lebtwohlfrimmer!
SchonerstarrenmeineGlieder,
undderSchmerzdrcktmich
darnieder!
Kaummehrfhlich,daichlebe,
daichzitt're!OwelchesBange!
VonderStrineaufdieWangen
rinnetderkalteSchweiherab.
Abernein,ichdarfnochleben,
schauemporundfasseMut.
UnddieAugen!Oja,ichsehe!
Undauchhr'ich,inderNhe,
holdenZephyrussanftesWehen!
IstdortetwaEndesGarten?
Darfich?Nein,ichmunochwarten!
Aberstille!stille!stille!
DieWindebrausen!
DieBchesausen!
LeisekosenddurchdieBltter
willdieSonnemirverknden:
Komm,esnahteinneuerTag.
WelcheFreude!welchEntzcken!
Ichkannmichregenundbewegen,
tanzen,singen,hpfen,springen.
MitfrohemHerzenkannichnun
scherzen.
WelcheineFreude!VergngterTag!

Szene9SerpettaundderPodest
N.20Arie
SERPETTA
WerwilldieWeltgenieen,
derschweig'zuallemstill!
Erlasichnichtsvedrieen,
eskomme,wieeswill!
DieMdchensolltenredlichsein
undlaut'reHerzenhaben,
soaufrichtigseinwieehrlich,jaehrlich
sein.
DochntzendieseGaben
beiMnnernnunnichtmehr!
Jetztmumanseinverschlagen,
gleichgltigallestragen,
sichdummundsittsamstellen,
dieNarrenwackerprellen,
siefoppenhinundher!
VonallendiesenPflichten
mumansichunterrichten
undntzenjedeLehr!

Szene10VerlassenerOrtinbergigerGegend
Sandrinangstlichundzitternd;mansieht
verschiedeneGestalteneilendsfliehen.
N.21Arie
SANDRINA
Achhaltet,Barbaren,


achhaltet,oGott!
achhaltet,oHimmel!
achhaltet,Barbaren!
Wieknntihrmichverlassen?
Ach!reichetHilf'mirArmen!
Wiewirdesmirergeh'n?
AchHimmel!AchErbarmen!
Esistummichgescheh'n.
NurderTodistmeinHoffen!
Himmel,sollicherliegen
meinemschrecklichenSchiksal?
Grausamverlassen
vondeminnigGeliebten,
vonihmverhhnet!
Ach,wassollichbeginnen?
DemSchmerzmuicherliegen!
ZugrosindmeineLeiden!
Wohinsollichmichwenden,
umHilfezuersphhen
andiesemSchreckensorte!
Esistvergebens!
MeinHoffenistdahin!
Ichbinverloren!

N.22Kavatine
SANDRINA
Ach!vorTrnen,Schluchzen,Seufzen
kannichkaummehrAtemfassen!
Sprach'undStimmemichverlassen
undesschwindetalleKraft.
Rezitativ
Schenke,gtigeVorsicht,mirdein
Erbarmen!
Lind'rediebitt'reSchmerzen!
Lassemichnichtverzagen!
Ha,wernahetsich?
Sollichentfliehenoderbleiben?
VerzweiflungsvolleLage!
Wermagkommen?
OGott,mirfehlenKrfte,umzu
fliehen!
Wohinbergen?OHimmel!
Ha,daerblickichdieHhle!
DiesseiderSchutzortdiesertraurigen
Stunde!
Dahineinwillgehen.
Unddu,gt'geGottheit!
ach,schtzemeinLeben.
(SiesuchtschutzineinerHhle)

Szene11DerGrafundNardo;dieVorige,dann
Arminda,daraufderPodestundSerpetta
schlieichRamiro
N.23Finale
DERGRAF
HierindiesenFinsternissen,
indenFelsen,ach,ichbitte,
Nardo,leitemeineSchritte,
dennichweiichtausnochein.
NARDO
OwieschrecklichistdieWildnis!
Nunsolatunssachtegehen.
HieristwohlderOrtzusehen,
womansienochfindenkann.
SANDRINA
InderNh'dnktmichzuhren
einGerusch,dasmicherschrecket,
dasmirFurchtundAngsterwecket,
Himmel,ach,erhrmeinFleh'n!
ARMINDA
HierindiesenfinsternWald

istgewimeinGrafgekommen,
vonVerzweiflungeingenommen,
seinerGattinnachzugeh'n.
DERGRAF
EinGeruschhabichvernommen.
SANDRINA
Nein,ichwillvonhiernichtweichen!
NARDO
Ichwillnherhinmichschleichen.
ARMINDA
Michdnkt,hieretwaszuhren.
SANDRINA,ARMINDA,DERGRAF,
NARDO
Latunsseh'n,washiergeschieht.
DERPODEST
HierindiesenFinsternissen
muichSchrittvorSchrittegehen
unddieStraennichtversehen,
sonstbrech'ichmirHalsundBein!
SERPETTA
Heimlichhab'ichmichbeflissen,
inderStilleherzuschleichen,
meineAbsichtzuerreichen
undaufmeinerHutzusein.
DERGRAF
Weristda?
SANDRINA
OwelcheinUnglck!
DERPODEST
Gehthierjemand?
SERPETTA
Oselt'nerZufall!
NARDO
Gehtnichtweiter!
ARMINDA
OwelcherSchrecken!
SANDRINA,SERPETTA,ARMINDA,DERGRAF,
DERPODEST,NARDO
WelchGetse,welchesLrmen,
wr'ichdochnurweitvonhier!
DERPODEST
(zuArminda,dieerfrSandrinahlt)
Bistdu's,meinlieb'Sandrinchen?
ARMINDA
(zumPodest,densiefrdenGrafenhlt)
Ja,diebinich!
(DasistderGraf.)
DERGRAF
(zuSerpetta,dieerfrSandrinahlt)
MeinereizendeSandrina!
SERPETTA
(zumGrafen,densiefrdenPodesthlt)
Ja,diebinich!
(DasistderAmtmann!)
NARDO
(zuSandrina)
SindSienichtdiegnd'geGrfin?
SANDRINA
DiesistNardo,ichbinruhig!
SANDRINA,SERPETTA,ARMINDA,DER
PODEST,DERGRAF,NARDO
WelcheFreude,welch'Entzcken,
wasichsuchte,istnunmein!
RAMIRO
(ausdemHintergrund)
Nun,ihrFreunde!bleibthierstehen,
dochlavoneuchsichkeinersehen,
bisesendlichZeitwirdsein.
DERPODEST
KommenLeute?

95010MozartCompleteEdition
132

ARMINDA
Wie?washr'ich?
DERGRAF
Sag,werbistdu?
SERPETTA
Werverbirgtmich?
NARDO
Gehzurcke!
SANDRINA
Ichbinverloren!
RAMIRO
(trittauf,zuArminda)
Nunwirdallesaufgeklrt!
DERPODEST
Latunsgehen!
ARMINDA
Ichbin'szufrieden!
DERGRAF
(zuSerpetta)
Geh'nwirnochweiter?
SERPETTA
Esistdasbeste.
NARDO
Wastunwir?
SANDRINA
Wehmir,ichzitt're!
SANDRINA,SERPETTA,ARMINDA,DER
PODEST,DERGRAF,NARDO
Ach,ichmcht'vorAngstvergeh'n,
lngerist'snichtauszusteh'n!
RAMIRO
(wiederimHintergrund)
Holla,Freunde,lateuchsehen,
kommtgeschwindundhurtigher!
Icherfreu'michdesVergngens,
sodasGlckhateuchbeschert.
(Allesinderstauntundbetrachtensich
verwundert)
DERGRAF
Du,Serpetta?
SERPETTA
Sie,derGraf?
DERPODEST
MeineNichte?
ARMINDA
DerPodest?
SANDRINA,SERPETTA,ARMINDA,DER
PODEST,DERGRAF,NARDO
Overwnschtesberraschen,
allesteh'nwirhierbeschmt!
ARMINDA
(zumPodest)
HieristeinIrrtum,
dortistdieSchne.
SANDRINA
(zuNardo)
Ach,wieSiescherzen,
ichbinnichtjene.
SERPETTA
(zumGrafen)
Ha,wieSieirren,
dortistdieNrrin.
DERPODEST,DERGRAF,NARDO
Dasindwiralleschnangelaufen,
wasistzumachen,'sisteinmelso.
ARMINDA
(zumGrafen)
FalscherVerrter,dumichbetrgen?
GiftigeRachesollstdufhlen!
DERPODEST
(zuSandrina)


Warte,Nichtswrd'ge,ichwilldich
strafen!
Ja,dusollstmeinenZornempfinden!
SANDRINA
Oweh!ichwanke!dasHauptmir
chwindelt,
unterdenFndieErdeweicht.
NARDO
(zuSerpetta)
DiesesdeinSchmeichelnisthier
vergebens.
SERPETTA
(zuNardo)
DassolldichNerrenwenigbekmmern.
RAMIRO
(zuArminda)
Ach,deineStrengekannichnicht
fassen!
ARMINDA
(zuRamiro)
Dichwerd'ichfliehenundewighassen!
SANDRINA,DERGRAF
WiestrmtderHimmel!
welcheschwarzeWolken!
Michschaudert,ichzitt're!
erstarre!undbebe!
Jetztschonergreiftmicheintoller
Wahn!
SERPETTA,ARMINDA,RAMIRO,
DERPODEST,NARDO
Ach,derVerdrumachtmichfast
rasend,
dasHerzfngtschnellzuschlagenan!
SANDRINA
Hrstdunicht,meinTirsis?Vonferne
ertnen
dieZaubergesngederholdenSirennen.
SieLadenunseinzuerquickenderRuh'.
DERGRAF
Hr',Kloris,dieLeierdesOrpheussanft
klingen,
dieFelsenbewegtunddieBestien
bezwinget!
derSchifferimWeltmeerhltstillund
hrtzu.
SANDRINA,DERGRAF
OsanftesEntzcken,ohimmlisches
Lust!
DERPODEST
(zumGrafen)
Herr,mitIhnenhab'ichzusprechen!
IchmudieseUnbillrchen!
AufPistolenlad'ichSie!
RAMIRO
(zumGrafen)
Nurgeschwind,meinHerr,wirgehen!
WarumbleibenSienochstehen?
Uns'reKlingenmessenwir!
ARMINDA
Wowolltihrhin?Achbleibetdoch!
SERPETTA,NARDO
WassolldenndiesesLrmennoch?
RAMIRO,DERPODEST
Kaumkannichmichnochhalten
vorWutundRaserei.
SANDRINA
IchbinMedusa!Kenntihrmich?
DERGRAF
IchbinAlcid,fort,packedich!
SANDRINA,DERGRAF
HerzigeNymphen,kommetdoch!

FliehetdieTyrannei!
ARMINDA
Ichglaubegar,sieschwrmen.
DERPODEST
Ja,ja,michdnkt,sieschwrmen.
RAMIRO,NARDO
Sagtdoch,wasdiesbedeute!
SANDRINA
Nurnichtsonah,ihrLeute!
SANDRINA,DERGRAF
Holla!keinsolchesLrmen!
Wolltihrunssehenweinen?
Seiddochsograusamnicht!
SERPETTA,ARMINDA,DER
PODEST,NARDO
Frwahr,siesindvonSinnen!
Wahnsinnig,undganztoll!
RAMIRO
(zuArminda)
ZusogroenUnglck
hastdudenGrundgelegt.
SANDRINA,DERGRAF
Ach,istdennniemand,
oGott,istdennniemand,
denmeinePeinbewegt?
SERPETTA,ARMINDA,RAMIRO,DERPODEST,
NARDO
WelchseltenerZufall!
WelchtraurigesSchiksal!
DerWahnsinn,dieTollheit
ergreifensieganz.
SANDRINA,DERGRAF
OlachendeFreude,
manwirdunsbeneiden.
DielustigMusik
unslocketzumTanz.

III.AKTEinVorhof
Szene1Nardo,dannderGrafundSandrina
N.24ArieundDuett
NARDO
Sehtdort,wieMondundSonne
sichbalgenundsichzanken!
DieSterneallewanken,
seht,wiesieFeuerspeien.
Wr'ichnurihrerlos!
NungehtesaneinRaufen.
SchonteiltmansichinHaufen.
Nunschlagensie,nunschieensie,
nunstechensie,nunhauensie,
sehtdochdieNarrenan!
Schaut,welch'Getssiemachen,
istdiesesnichtzumLachen?
Nunschleichichmichdavon.
(ab)
DERGRAF
Nurmutig,tapfer,Freund!
SANDRINA
Fort,schlagteureFeinde!
DERGRAF
DieSonnebrenntsiezusammen.
SANDRINA
DerMondistschoninFlammen.
SANDRINA,DERGRAF
DieSternesindalletot!
EinSturmwindsicherhebet,
dieganzeErdebebet!
Esblitzet,esdonnert!
WerhilftunsausderNot?
(Beidegehenab)

95010MozartCompleteEdition
133

Szene2DerPodest,dannArmindaund
Ramiro
N.25Arie
DERPODEST
Nun,meinHerr?Ichwollt'essagen...
dadieSache...Geduld,nursachte!
Sie,meinFrulein?Ichkannesnicht
glauben!
OsohrenSiemichan!
MeineNichtewollt'ichfragen,
wennderGrafnunUmstnd'machte?
WollenSiemirdocherlauben,
waszutuninsolchemFall!
Ach,ichplatzenochvorWut!
Undnunnehm'ichmeinenHut.
Nehmensienur,wiesiewollen,
SiedieNichte,SiedenGrafen!
Jedesnehm',wasesungequlet!
SolcheGrobheit!pfui!dieSchande!
SchicktsichdiefrLeut'vonStande?
LassenSienurmichinRuh!

Szene3ArmindaundRamiro
(Armindaab)

Szene4Ramiroallein
N.26Arie
RAMIRO
Wennichauchvondirverlassen,
kannichdichniemalshassen.
UndankbareNeigung,
dienochfrdichhierspricht!
DochsollanmeinemLeiden
deinAugesichnichtweiden.
Fernvondirsterbeich!

Szene5Garten.SandrinaundderGraf
N.27RezitativundDuett
SANDRINA
Wobinichwohl?
DERGRAF
Womagichsein?
SANDRINA
Esistmir,alshtt'ichhiergeruhet.
DERGRAF
Mirschnenit,ichhab'geschlafen.
SANDRINA
Wiekamichdochindiesenschnenm
angenehmenGarten?
Wieistesmglich?
DERGRAF
WelchreizendeGegend!
Werhatmichhierhergebracht,
indiesenschnenHain?
Trum'ichoderwach'ich?
SANDRINA
Ichbinganzbetubt.
IsteseinZauber?
(Sieerblickeneinander)
DERGRAF
Doochwaserbluck'ich?
SANDRINA
Wasseh'ich?
DERGRAF
OmeineLiebste,meinLeben!
SANDRINA
Zurck!
DERGRAF
Sostreng?
SANDRINA
Wassuchstdu?


DERGRAF
Sagmirendlich,
bistdenndunichtViolante?
SANDRINA
Ja,ichbinViolante!
DochsuchstdudeineSchne,
deinereizendeBraut,
ichbindieselbenicht!
DERGRAF
Ichbeteure,beschwredich!
SANDRINA
O,esseiferne,daicheswagte,
mitsolcherwrdigenDame
umsoeintreuesHerzzustreiten.
InkurzerZeitwerd'ich
dieFraudesPodest.
Nunlebewohl!
(willabgehen)
DERGRAF
Hremich!Wowillstduhin?
SollichimsenAugenblick,
inderseligenStunde,daichdichfinde,
dieschonwiederverlieren?
Nein,dasgeb'ichnichtzu!
Dusollstmichnichtverlassen!
VergibmeineSchuld,geh'nichtfort,
bleibebeimir!
Dumichfliehen!OhartesSchiksal!
Du,derAbgottmeinerLiebe!
KennstdunichtdiezartenTriebe?
DiesesHerzschlgtnurfrdich!
SANDRINA
Ja,ichfliehedeineBlicke!
DuverdienstnichtmeineLiebe,
denndeinHerznhrtfremdeTriebe.
Ichmuewigdichflieh'n.
DERGRAF
Alsogeh'ich!
SANDRINA
Undicheben!
SANDRINA,DERGRAF
DochwashemmetmeineSchritte?
WarumwanketjederTritt?
DERGRAF
DieDemutzubeweisen,
lamichdasGlckgenieen,
dieschneHandzukssen!
SANDRINA
Ach,geh'nSie,Sieverschwenden
umsonstdieKomplimente!
Geh'nSie,nichtwillichweiterwissen!
DERGRAF
(Geduld!)Dochwerwei,
obwirunswiederseh'n.
SANDRINA
DenkenSienichtdaran.
(Dieseskannnochgeschehen.)
SANDRINA,DERGRAF
Nurherzhaft,nurentschlossen!
Nunfort,nurfortvonhier!
(Beidegehen,scheinbarentschlossen,
voneinander,
bleibenaberzgerndwiederstehen)
DERGRAF
Wie,durufstmich?
SANDRINA
Nein,meinHerr,
Siegeh'nzurcke?
DERGRAF
Ichglaubenein!

SANDRINA
(Erwirdjaschonnhergehen.)
DERGRAF
(Siekannnichtmehrwiederstehen.)
SANDRINA,DERGRAF
(Kaumichmichnochhaltenkann.)
(Sienhernsichlangsameinander)
DERGRAF
(Geh'ichnher?)
SANDRINA
(Istesschicklich?)
DERGRAF
(Sollich'swagen?)
SANDRINA
(DochderAnstand...)
DERGRAF
(Geh'ich?)
SANDRINA
(Bleib'ich?)
SANDRINA,DERGRAF
(Wassollichtun?)
(Sieumarmensich)
Niemehrwillichvondirscheiden!
WerderLiebeMachtempfindet,
kannihrnichtmehrwiedersteh'n.
Welch'Freude,welch'Entzcken,
deineHandwirdmichbeglcken!
AlleQualensindverschwunden,
stetssollmanmichfrhlichseh'n.
Onichtwahr,ihrholdenSeelen,
werderLiebeMachtempfunden,
kannihrnichtmehrwiedersteh'n.

Szene6Nardo,derGrafundderPodest,dazu
Sandrina,Arminda,Serpetta,Ramiro,Grtner
undGrtnerin
N.28Schluchor
SANDRINA,SERPETTA,ARMINDA,RAMIRO,
DERGRAF,DERPODEST,NARDO,CHOR
Liebe,Treuehatgesiegt!
LatunsnuninWonneleben!
Wirsindglcklichundzufrieden.
Latunsallefrhlichsein!
ENDE

ILREPASTORE(CD147148)
AttoPrimo(CD147)
1.No.1Overtura
ScenaPrima
Vastaedamena
campagna.Greggie
pastori.Tuguri
pastorali.Veduta
dellacittdiSidone
inlontano.Aminta
assisosopraunsasso,
cantandoalsuono
delleavenepastorali;
indiElisa.

2.Aria
AMINTA
Intendoamicorio
Quelbasso
mormorio:
Tuchiedi,intua
favella,
Ilnostrobendov?

95010MozartCompleteEdition
134

3.Recitativo
AMINTA
(vedendoElisa,getta
leaveneecorroad
incontrarla)
BellaElisa?idolmio?
Dove?
ELISA
AtecaroAminta.
AMINTA
OhDei!nonsai
Cheilcampo
dAllesandro
Quindilunginon?
Chetutteinfesta
Questaamene
contrade
IlMacedone
armato?
ELISA
Ilso.
Dehmascolta.Ho
colmoilcore
Difelicisperanza:e
nonhopace
Finchcontenonle
divido.
AMINTA
Altrove
Pisicurapotrai
ELISA
MadAlessandro
Faitortoallavirt.
Eidauntiranno
VenneSidonea
liberar:nvuole
Chesiavenditail
dono:
Nefranseilgiogo,e
nericusailtrono.
AMINTA
Chisardunqueil
nostrore?
ELISA
Sicrede,
Cheignotoanchea
sestessooccultoviva
Illegittimoerede.
AMINTA
Edove
ELISA
Ahlascia,
CheAlessandrone
cerchi.Odi.Lamia
Pietosamadre(oh,
caramadre!)alfine
Gilamormoi
seconda.
AMINTA
Ah!
ELISA
TusospiriAminta!
Chevuoldirquel
sospiro?
AMINTA
Controildestin
madiro,
Chespocomifece
Degno,Elisa,dite.
ELISA
Nonlerichezze,


ogliavi;
CercoAmintain
Aminta:edamo
inlui
Finlasuapovert.
AMINTA
Ohmiasola,ohmia
vera
Felicit!queicari
detti
ELISA
Addio.
Corroallamadre,e
vengoatefrapoco.
Ionondovrmaipi
lasciarti.Insieme
Sempreilsolnoi
vedr,parta,o
ritorni.
Ohdolcevita;oh
fortunatigiorni!

4.No.2Aria
ELISA
Allaselva,alprato.
alfonte,
Ionandrcol
greggeamato:
Eallaselva,alfonte,
alprato
Lidolmiocon
meverr.
Inquelrozzo
angustotetto,
Chericettoa
noidar,
Conlagioiae
coldiletto
Linnocenza
albergher.

SceneSeconda(Aminta,poiAlessandroed
Agenoreconpicciolseguito)
5.Recitativo
AGENORE
(pianoad
Alessandro)
Eccoilpastor.
ALESSANDRO
Cometapelli?
AMINTA
Aminta
ALESSANDRO
Eilpadre?
AMINTA
Alceo.
ALESSANDRO
Vive?
AMINTA
No:Scorse
Unlustrogichiolo
perdei.
ALESSANDRO
Senti.Ituoipassi
AdAlessandroil
guider,sevuoi.
AMINTA
No.
ALESSANDRO
Perch?

AMINTA
Sedurrebbe
Eimedallemiecure
ioqualcheistante
Almondousurperei
delsuofelice
Beneficovalor.
Ciascunsestesso
Devealsuostato.
Altroildover
dAminta,
Altroquel
dAlessandro.
ALESSANDRO
MapuilCieldi
tuasorte
Inunpuntocangiar
tutoiltenore.
AMINTA
S!mailCielofinor
mivuolpastore.
Sesolettotravoi
Dellateneragreggiai
passiosservo,
Colrozzosuondel
umilmiazampogna
Aquellaipaschi
raddolcisco,eintanto
Scacciodalcuorla
noia,elietoiocanto.
Cantodellamia
ninfaidolciamori,
Chesemeconon,
sochesospira;
Tuttoamorellaspira,
Tuttofuoco
Anchioqualfenice
mistruggoindi
rinasco.
Recitativo
accompagnato
AMINTA
Ditelovoipastori,
Seunpidime
feliceefortunato
Siritrovafravoi.
Chealfido
Amintafida
labellaElisa
ogniruscello
Garruloildicea
tutti,ilcavomonte
Loripetegiulivoed
ognifronda
Chinandosi
lafferma,efin
glaugelli
Emulialnostroamor
amanoanchessi;
Efrabaci,ed
amplessi
Separandosi,allun,e
allaltropolo
Portandepastorelli
ElisaeAminta
Alchiaroesempioil
testimonverace:
Cheilriposo,lapace,
eilveroamore
Nellavitasannidan
delpastore.

95010MozartCompleteEdition
135

6.No.3Aria
AMINTA
Aertranquilloe
dsereni,
Freschifonti,
everdiprat
Sonoivotifortunati,
Dellagreggiaedel
pastor.
Chesepoipiacesse
aifati
Dicambiar
glofficimiei,
Avrancura
alloraiDei
Dicambiarmie
menteecor.

ScenaTerza(AlessandroedAgenore)
7.Recitativo
AGENORE
Orchedici
Alessandro?
ALESSANDRO
Ahcertoascondo
Quelpastorello
sconosciutoerede
delsogliodiSidone.
Erangigrandi
Leprovetue;ma
quellparlar,quell
volto
Sonlamaggior.Che
nobilcor!chedolce,
Cheserenavirt!
Sieguime.Andiamo
Lagrandopraa
compir.Defastimiei
Sarquestoilpi
bello.Abattermura,
Esercitifugar,scuoter
glimperi
Fraturbinidiguerra,
ilpiacerchegleroi
provanointerra.
Masollevargli
opressi,
Renderfeliciiregni,
Coronarlavirt,
toglierealei
Quelcheladombra
inguriosovelo,
ilpiacerchegliDei
provanoinCielo.

8.No.4Aria
ALESSANDRO
Sispandealsolein
faccia
Nubetalorcos,
Efolgora,eminaccia
Sularidoterren.
Mapoi,cheinquella
fogia
Assaidumoriun,
Tuttasisciogliein
pioggia,
Eglifecondailsen.


ScenaQuarta(Tamiriinabitopastoraleed
Agenore)
9.Recitativo
TAMIRI
Agenore?Tarresta.
Odi
AGENORE
Perdona
Leggiadrapastorella;
iodAlessandro
Deggioorsu
lorme(OhDei!
Tamiriguella).
Principessa
TAMIRI
Ahmoiben!
AGENORE
Seitu?
TAMIRI
Sonio
AGENORE
Tuqui,tuinquesta
spoglia?
TAMIRI
Iodeggioaquesta
Ilsolben,chemi
resta,
Chlamialibert:
gicheAlessandro
Padreeregnomha
tolto.
AGENORE
Oquantomai
Tipiansi,eticercai!
Madoveascosa
Ticelastifinor?
TAMIRI
LabellaElisa
Fuggitivamaccolse.
AGENORE
Equaldisegno?
Ahmattende
Alessandro.
addio,frapoco
Ateverr.
(inattodipartire)
TAMIRI
Guarda:dElisai
tetti
Col
AGENORE
Gimisonnoti.
TAMIRI
Odi.
AGENORE
Chebrami?
TAMIRI
Comestoneltuo
core?
AGENORE
Ahnonlovedi?
Atuoibeglocchi,o
principessa,ilchiedi.

10.No.5Aria
AGENORE
Permerispondete,
Beglastridamore:
Sevoinolsapete,
Chimailosapr?
Voitutteapprendeste

Leviedelmoicore,
Talorchevinceste
Lamialibert.

ScenaQuinta(Tamirisola)
11.Recitativo
TAMIRI
No:voinonsiete,oDei,
Quantofinorcredei
Inclementiconme.
Cangiaste,vero,
Incapannailmoi
soglio;inrozzivelli
Laporporareal;ma
fidoancora
Lidolmoiritrovai.
Pietosidei,voimi
lasciasteassai.

12.No.6Aria
TAMIRI
Ditantesueprocelle
Gisiscord
questalma:
Giritrovlacalma
Sulvoltodelmoiben
Fraliredellestelle
Sepalpitdorrore,
Ordicontento
ilcore,
Vapalpitandoinsen.

ScenaSesta(Elisa,Aminta)
13.Recitativo
ELISA
(Ohlietogiorno!oh
mefelice!ohcaro
Miogenitor!Ma
doveand?Pur
dianzi
Quilolasciai.Sarl
dentro.Aminta!
Aminta!Oh
stolta!misovviene;
lora
Dabbeverarla
greggia.Alfonteio
deggio
Enonqui
ricercarne)
AMINATA
Dovetaffretti,
Elisa?
ELISA
Ahtornastiuna
volta.Andiamo.
AMINTA
Edove?
ELISA
Algenitor.
AMINTA
Dunqueeiconsente.
ELISA
Ilcore
Nonmingann.
Saraimoisposo,
eprima
Cheilsoltramonti.
SCENASETTIMA
(Agenore,seguitoda
guardierealienobili

95010MozartCompleteEdition
136

diSidoneche
portanosoprabacilli
doroleregie
insegne,edetti?
Recitativo
AGENORE
Dalpifedelvassallo
Ilprimoomaggio,
eccelsore,ricevi.
ELISA
(adAgenore)
Chedice?
AMINTA
(adAgenore)
Achifavelli?
AGENORE
Atesignor.
AMINTA
Lasciamiinpace:
eprendi
Alcunaltroa
schernir.Liberoio
nacqui,
Serenonsono;ese
nonmertoomaggi,
Houncorealmen,
chenonsopporta
altraggi.
AGENORE
Quelgeneroso
sdegno,
Tescopre,eme
difende.
TuAdolonimosei;
lunicoerede
DelsogliodiSidone.
AMINTA
Io!
AGENORE
S.
ELISA
(Ohgiubilo!oh
contento!
Ilmiobeneilmio
re.)
AMINTA
Dunque
Alessandro
AGENORE
Tattende,edisua
mano
Vuolcoronartiil
crin.Leregiespoglie
Quelleson,chei
tinvia.Questiche
vedi,
Sontuoiservie
custodi.Ahvieni
ormai;
Ahquestogiornoho
sospiratoassai.

ScenaOttava(Alisaallegra,Amintaattonito)
14.Recitativo
AMINTA
Elisa!
ELISA
Aminta!
AMINTA
sogno?
ELISA


Ahno.
AMINTA
Tucredi
Dunque
ELISA
S:nonstrano
Questocolpoperme,
benchimprovviso.
Uncordiresempre
iovidiinviso.
AMINTA
Sar.Vadasiintanto
Alpadretuo.
ELISA
No;maggiorcura
iNumi
Oraesigondate.Va,
regna,epoi
AMINTA
Che?maffrettia
lasciarti?enon
ticale,
Cheilgenitor,il
genitore,ohDei!
Acuilatuatudei,
Lamiafelicit
deggio,denuovi
Improvvisicontenti,
ornesiaaparte?
PerdonaElisa,
ubbidirtinon
posso;
Melvietanlamor
tuo,ilgranpiacere,
Ilrispetto,ildovere.
Ahpria,chaltriil
prevenga,
Dalmoilabbrosi
lietanuovaintenda,
EadAlessandro,eal
regnopoinandr;
Quindifrapoconel
tuofidopastore
Unretuosposoate
ritorner.
Soffri,chiovada
Ahsesapessi,
quanto
Lungidate,
Idolmoi,unsolo
istante
Peniilmoicor
amante
ELISA
Ahsevedessi,
Commestaquesto
cor!Digioiaesulta.
Mapurnono,
tacete,
Importunitimori,Or
nonsipensi,
SenoncheAminta
re.Dehva:potrebbe
Alessandrosdegnarsi.
AMINTA
AmiciDei,
Songratoalvostro
dono:
Matroppocaroa
questoprezzoun
trono.

15.No.7Duetto
ELISA
Vannearegnarben
moi,
Mafidoachitadora
Serbasepuoiquel
cor.
AMINTA
Sehodaregnarben
moi,
Sarsultronoancora
Ilfidotuopastor.
ELISA
Ahcheilmoiretu
sei!
AMINTA
Ahchecrudel
timor!
ELISA,AMINTA
AhproteggeteoDei,
Questoinnocente
amor.

AttoSecondo(CD148)
ScenaPrimaIlpadiglionedAlessandrodaun
lato;ruineinselvatichitediantichiedifici
dallaltro.CampodeGreciinlantano.(Elisa,
poiAgenore)
1.Recitativo
ELISA
Questadelcampo
greco
latendamaggior.
quilidolmoi
Certoritrover.
AGENORE
Dovetaffretti,
Leggiadraninfa?
ELISA
Iovadoalre.
AGENORE
Perdona,
Vedernolpuoi.
ELISA
Perqualragione?
AGENORE
Orsiede
CoisuoiGrecia
consiglio.
ELISA
CoiGrecisuoi?
AGENORE
S.
ELISA
Dunqueandar
possio,
Nonquelloil
moire.
AGENORE
Ferma:npure
Altuoreliceandar.
AmicaElisa,
Va:crediame.Per
ora
Dehnonturbarci.Io
coltuorefrapoco
Pitostoateverr.
ELISA
Tappagher.
Msenti.
Setardi,iotorno.

95010MozartCompleteEdition
137

AGENORE
giusto.
ELISA
Addio.Frattanto
Noncelaread
Aminta
Lesmaniemie.
AGENORE
No.
ELISA
Digli,
Chelesuemi
figuro.
AGENORE
S.
ELISA
Damelungioh
quanto
Penerlinfelice!
AGENORE
Molto.
ELISA
Eparladime?
AGENORE
Sempre.
ELISA
Echedice?
AGENORE
Matupartirnon
vuoi.Setutteio
deggio
Ridirlesuequerele
ELISA
Vado:nonti
sdegnar.Seipur
crudele!

2.No.8Aria
ELISA
Barbaro!ohDio
mivedi
Divisadalmoiben:
Barbaro,enon
concedi
Chionedimandi
almen.
Comeditantoaffetto
Allapietnoncedi?
Haipureuncorein
petto,
Haipureunalma
insen!

ScenaSeconda(AgenoreedAminta)
3.Recitativo
AGENORE
Nelgrancor
dAllessandro,
oDeiclementi,
Secondateimiei
detti,
AfavordiTamiri.
Ah!nbendegna
Lasuavirt,lasua
belt...Madove,
Dovecorri,miore?
AMINTA
LabellaElisa
Purdalungior
mirai;perch
sasconde?


Dov?
AGENORE
Part.
AMINTA
Senzavedermi?
Ingrata!
Ahraggiungerlaio
vogli.
AGENORE
Ferma,signor.
AMINTA
Perch?
AGENORE
Nonpuoi.
AMINTA
Nonposso?
Chidleggead
unre?
AGENORE
Lasuagrandezza,
Lagiustizia,il
decoro,ilbenealtrui,
Laragione,ildover.
AMINTA
Dunquepastore
Iofuimenservo.
AGENORE
Ahtedestinailfato
Veramentearegnar!
AMINTA
Madimmi,amico:
Nondeggioamar,chi
mama?pocoElisa
Degnadamore?
AGENORE
Tarresta.
Scioltoilconsiglio:
esconeiduci:anoi
VieneAlessandro.
AMINTA
Ov?
AGENORE
Nonriconosci
Isuoicustodialla
realdivisa?
AMINTA
Dunque?
AGENORE
Attenderconvien.
AMINTA
PoveraElisa!

SceneTerza(Alessandroedetti)
ALESSANDRO
Esecutorsonio
DeidecretidelCiel.
Tudelcontento,
Cheineseguirliio
provo,
Solmiseidebitor.
Permiamercrede
Chiedolagloriatua.
AMINTA
Qualgloria,oDei,
Iosaprmeritar,se
finoadora
Unagreggiaaguidar
soloimparai?
ALESSANDRO
Giquestodubbio
solo

Miprometteun
granre.
AMINTA
Ahfate,oNumi,
FatecheAmintain
trono
Sestessoonori,ol
donatore,eildono.

ScenaQuarta(AlessandroedAgenore)
Recitativo
ALESSANDRO
Lagloriamia
Mefralunghiriposi,
OAgenore,non
soffre,OggiaSidone
Ilsuoredoner.
Sarebbeforse
Onoratamemoriail
nomemio
Lungamentefravoi.
Tamiri,oDei,
SolTamiriloscura.
Ovellagiunga
Fuggitiva,raminga,
Dimechesidir?
Cheunempioio
sono
Unbarbaro,un
crudel.
Perleisolaorquesta
Rimandelmiovalore
ormafunesta!
AGENORE
(Coraggio!)
ALESSANDRO
Avreipotuto
Altruimostrar,se
nonfuggiaTamiri,
Chiodistinguerdal
reo,solinnocente.
VolaaTamiri,edille
Choggialnuovo
sovrano
Iodarlacorona:
ellalamano.
AGENORE
Laman?
Alessandro
Samico.Ahconun
soldiadema
diduebellalmeiola
virtcorono!
Eisalirsultrono,
Senzachellane
scenda;avoilapace,
Lagloriaalnome
mio
Rendocos:tutto
assicuro.
AGENORE
(OhDio!)
ALESSANDRO
Tuimpallidisci!e
taci?
Disapproviil
consiglio?
purTamiri...
AGENORE
Degnissimadel
trono.

95010MozartCompleteEdition
138

ALESSSANDRO
Euntalpensiero...
AGENORE
Degnissimodite.
ALESSANDRO
Diqualeaffetto
Queltacerdunque
segno,equelpallore?
AGENORE
Dipiacer,dirispetto,
edistupore.

4.No.9Aria
ALESSANDRO
Sevincendovirendo
felici,
Separtendonon
lascionemici,
Chebelgiornofia
questoperme!
Desudori,chio
spargopugnando,
Nondimandopi
bellamerc.

ScenaQuinta(Aminta,solo)
5.Recitativo
AMINTA
Oim!declinaulsol.
Giiltemposcorso,
Cheamieidubbi
penosi
Agenoreconcesse.
Equestoilregno?
Ecosbensivive.
Fralaporpora,elor?

ScenaSesta(Agenoreedetto)
Recitativo
AGENORE
Eirresolutoancora
Tiritrovo,omiore?
AMINTA
No.
AGENORE
Decidesti?
AMINTA
S.
AGENORE
Come?
AMINTA
Ildovermio
Acompirson
disposto.
AGENORE
AdAlessandro
Dunquedandarpi
nonricusi?
AMINTA
Alui
Anzigi
mincammino.
AGENORE
Ohfortunato
Aminta!Ohqual
compagna
Tidestinanlestelle!
Amala;degna
Deglaffettidunre.
AMINTA
Comprendo,amico,


Tuttalamiafelicit.
Nondirmi
Damarlasposamia.
Gilamoasegno,
Chesenzaleimi
spiacerebbeilregno.

6.No.10Rondeaux
AMINTA
Lamer,sar
costante:
Fidosposo,efido
amante
Solperleisospirer.
Inscaroedolce
oggetto
Lamiagioia,ilmio
diletto,
Lamiapaceio
trover.

ScenaSettima
(Agenore,solo)
7.Recitativo
AGENORE
Uscite,alfineuscite,
Trattenutusospiri,
OhDio,bellaTamiri,
ohDio.

ScenaOttava(Elisaedetto)
ELISA
Masenti
Agenorequaifole
Sinventanquiper
tormentarmi.
sparso
ChoggiAmintaa
Tamiri,
Darlamandi
sposo.
AGENORE
Esciderror.Nessun
tinganna.
ELISA
SantiNumidelCiel!
Come!aTamiri
Darlaman?
AGENORE
Lamano,eilcor.
ELISA
Chefarposso?Ad
Alessandro,
Agliuomini,agliDei,
piet,mercede
Giustiziachieder.
VogliocheAminta
Confessiatutti
infaccia
Chedelsuocormha
fattodono:evoglio,
Sepretendeilcrudel,
cheadaltriilceda,
Vogliomorir
daffanno:echeil
veda.

ScenaNona(Agenore,poiTamiri)
Recitativo
AGENORE
Poveraninfa!Ioti

compiango:e
intendo
Nellamialatua
pena.
IodaTamiriconvien
chiofugga.
Bellaregina,addio.
TAMIRI
Sentimi.Dove
corri?
AGENORE
Aricordarmi
Cheseilamia
sovrana.
TAMIRI
Allemienozzeio
presentetivoglio.
AGENORE
Ahno,perdona:
Questolultimo
addio.
TAMIRI
Ubbidienzaiovoglio
Daunsudditofedel.
AGENORE
(OhDio!)
TAMIRI
Mudisti?
AGENORE
Ubbidir,crudele.

8.No.11Aria
TAMIRI
Setudimefaidono:
Sevuoichedaltri
iosia:
Perchlacolpa
mia?
Perchsoniocrudel?
Lamiadolcezza
imita.
Labbandonataio
sono:
Enontinsulto
ardita,
Chiamandotiinfedel.

ScenaDecima(Agenore,solo)
9.Recitativo
AGENORE
Miserocor!Credevi
Diavertuttesofferte
Letiranniedamore.
Ahnonvero:
Ancorlapifunesta,
Miserocore,a
tollerartiresta.

10.No.12Aria
AGENORE
Solpudircome
sitrova
Unamantein
questostato
Qualcheamante
sfortunato
Cheloprovaalpar
dime.
Untormentoquel
chiosento
Picrudeldogni

95010MozartCompleteEdition
139

tormento,
untormento
disperato,
Chesoffribilenon.

ScenaUndicesima
11.No.13Aria
ALESSANDRO
Voichefaustiognor
donate
Nuovigermialauri
miei,
Secondate,amiciDei,
Ancheimotidelmio
cor.

12.Recitativo
ALESSANDRO
Ol!chepisitarda?
Ilsoltramonta:
Perchilrenonsi
vede?
DovTamiri?
TAMIRI
dAlessandroal
piede.
ALESSANDRO
Seitula
principessa?
TAMIRI
Sonio.
AGENORE
Signor,non
dubitarne:dessa.
TAMIRI
Odi:Agenoreamante
Lamiagrandezza
allamorsuo
prepone.
Seallagrandezzamia
posporreiodebba
Unanimasfida;
EsaminiAlessandro,
enedecida.
ALESSANDRO
Dei!qualvirt!qual
fede!
SCENA
DODICESIMA
ELISA
Ahgiustizia,signor,
piet,mercede!
ALESANDRO
Chisei?chebrami?
ELISA
IosonoElisa.
Imploro
DAlessandroil
soccorso,
Aproduncore
ingiustamente
oppresso.
ALESSANDRO
Controchimai?
ELISA
ControAlessandro
istesso.
ALESSANDRO
Chetifece
Alessandro?


ELISA
Egliminvola
Ognimiapace,ogni
mioben:daffano
Eivuolvedermi
estinta.
DAmintaiovivo:ei
mirapisceAminta.
ALESSANDRO
Aminta!Equal
ragione
Haitusopradilui?
ELISA
Qual!Dabambina
Ebbiilsuocorein
dono.
ALESSANDRO
Coluicheilcortidi,
ninfagentile,
EraAminta,il
pastore:ategiammai
Abdolonimo,ilre,
nondiedeilcore.
SCENA
TREDICESIMA
AMINTA
Signore,iosono
Aminta,eson
pastore.
ALESSANDRO
Come!
AMINTA
Leregiespoglie
Eccoaltuopi:
Conlemielane
intorno
Allamiagreggia,alla
miapaceiotorno.
ALESSANDRO
ETamirinon...
AMINTA
Tamiridegna
Delcordunre:ma
nondegnaElisa
Chiolemanchidif.
Abbiasiilregno,
Chihadiregnar
talento:
PurchElisamiresti,
iosoncontento.
AGENORE
Cheascolto!
ALESSANDRO
Ovesonio!
ELISA
Agenoreioteldissi,
Amintamio.
ALESSANDRO
Sgenerosiamanti
Nondivida
Alessandro.Eccoti,
Aminta,
LabellaElisa.Ecco,
Tamiri,iltuo
Agenorefedel.
(adAmintaeElisa)
VoidiSidone
Orsareteiregnanti:
(adTamirie
Agenore)
Evoisoggetti

Nonresterete.A
fabbricarviiltronon,
Lamiafortuna
impegno:
Edatantavirtnon
mancaunregno.
ELISA,AMINTA,AGENORE
Ohgrande!oh
giusto!
ALESSANDRO
AhveggaalfinSidone
Coronateilsuore.
AMINTA
Mainqueste
spoglie...
ALESSANDRO
Inquestespogliea
caso
Quinontiguidail
Cielo.IlCielpredice
Deltuoregnofelice
Tuttoperquestavia
forseiltenore:
Bellasortedun
regno,
Ilrepastore

13.No.14Finale
TUTTI
Viva,vivalinvitto
duce,
VivadeCieloildono
Picaroalnostro
cor.
ELISA,AMINTA
Confortunatiauspici
Inquestidpibelle
Splendanoincielle
stelle,
Ridapilietoamor.
TUTTI
VivadelCieloildono
Picaroalnostro
cor.
ELISA
Nelladorartiognora
Qualsiaunfelice
amore
caro,ilmiocorsapr.
AMINTA
Sequeltuocor
madora,
Cara,pidolce
ardore
Non,chelamor
nond.
ALESSANDRO
Questoperme
contento.
AGENORE
Gioianeprovoalcor.
ELISA,TAMIRI,AMINTA,AGENORE
No,cheadamoreuncor
Resisterenonsa.
ELISA
Vagheluci,mio
tesoro.
Nelmirartimi
conviene
Dolcementesospirar.

95010MozartCompleteEdition
140

AMINTA
Cariaccentidelmio
bene,
Nelmirartimi
conviene,
Dolcementesospirar.
TAMIRI,
ALESSANDRO
Almeliete,almecare,
Sgodetenellamar.
ELISA,TAMIRI,
AMINTA,
AGENORE
No,cheadamore
uncor
Resisterenonsa.
TUTTI
Viva,vivalinvitto
duce,ecc.

ZAIDE(CD149150)
ErsterAkt
ErsterAuftritt
N.1Lied
VORSNGER
Brder,lasstunslustigsein,
trotzettapferdenBeschwerden,
denkt,esistderFluchaufErden:
JederMenschhatseinePein.
Lasstunssingen,lasstunslachen,
kannmansdochnichtandersmachen.
WeltundNotisteinerlei,
keinerbleibtvonPlagenfrei.
VORSNGER,DREIANDERESKLAVEN
Lasstunssingenlasstunslachen,etc.

ZweiterAuftritt
N.2Melologo(Thisisanorchestralpartwitha
monologforGomatz)

DritterAuftritt
N.3Arie
ZAIDE
Ruhesanft,meinholdesLeben,
schlafe,bisdeinGlckerwacht;
da,meinBildwillichdirgeben,
schau,wiefreundlichesdirlacht:
IhrsssenTrume,wiegtihnein,
undlassetseinemWunschamEnde
diewollustreichenGegenstnde
zureiferWirklichkeitgedeihn.

N.4Arie
GOMATZ
Rase,Schiksal,wteimmer,
dieserSchildtrotzdeinerWut;
deineSchlgefrchtich
nimmer,nein,
diesesBildmachtallesgut.
DieseholdenAugenlider,
diesesMundesPurpurrot
bringtmiralleszehnfachwieder,
wrgtmichauchdeinUnsinntot.

N.5Duett
ZAIDE
MeineSeelehpftvorFreuden,
kaummehrweissich,woichbin.
GOMATZ
AllerUnstern,allesLeiden


istbeimiraufeinmalhin.
ZAIDE
TrostundWonne,RuhundFriede
trnktwieBalsammeineBrust.
GOMATZ
OZaide!
WelcheinLabsal,welcheLust!
BEIDE
MchtemurdasGlcksradstehen
undsichnimmerweiterdrehen.
GOMATZ
OZaide,welcheFreud!
ZAIDE
Gomatz,welcheSeligkeit!
VIETERAUFTRITT
N.6Arie
GOMATZ
HerrundFreund!
Wiedankichdir,
lassmichdeineKnieumfassen,
dochichmussdichschnellverlassen,
dennichbrennevorBegier.
Lassdichkssen,lassdichdrcken!
Ach!imTaumelvonEntzcken
weissichselbstnicht,wasichtu.
denndieTriebemienerLiebe
raubenmirderSinnenRuh.

FnfterAuftritt
N.7Arie
ALLAZIM
Nurmutig,meinHerze,
versuchedienGlck.
Verschaffedirselberein
bessresGeschik!
Manmussnichtverzagen,
durchtapferesWagen
schlgtoftmalsderSchwache
denStrkernzurck.

SechsterAuftritt
N.8Terzett
ZAIDE
OseligeWonne!
DieglnzendeSonne
steigtlieblichempor.
GOMATZ
OHimmel,oGlcke!
DasTrauergeschicke
verliertseinenFlor.
ALLAZIM
SehetdortinsanftenWogen,
wiederbunteRegenbogen
euchalsFriedensbotelacht.
ZAIDE
AbersehtdortinderFerne
blutigeKometensterne!
Hrtihrwieder
Donnerkracht?
GOMATZ
NurderKummermacht
dirSchrecken.
GOMATZ,ALLAZIM
GottesSchirmwird
unsbedecken,
traunurfestaufseineMacht.
ZAIDE,ALLAZIM
OmeinGomatz!
GOMATZ,ALLAZIM
OZaide!

ZAIDE,GOMATZ
MchtendocheinstRuh
undFriede
nachsovielerQualundPein
unsrerTreuePreisesein.
ALLAZIM
Wonne,RuhundsteterFriede
werdeneuchnach
QualundPein
einstderTreuePreisesein.

ZweiterAkt
ErsterAuftritt
N.9Melologo(Thisisanorchestralpartwitha
monologforSoliman)

ZweiterAuftritt
Arie
SOLIMAN
DerstolzeLwlsstsichzwarzhmen,
ernimmtvomSchmeichlerFesselan,
dochwillmansklavisch
ihnbeschmen,
steigtseineWutbiszumTyrann.
ErbrlletmitfurchtbarerStimme
undschleudertimwtendenGrimme
dieKetteninTrmmernzurErd,
undwasihmentgegen,
wirdvonseinenSchlgen
zumTode,zumTodeverheert.

DritterAuftritt
N.10Arie
OSMIN
WerhungrigbeiderTafelsitzt
undschmachtendSpeis
undTranknichtntzt,
magselbstseinGlcknichtmachen.
EristfrwahreinganzerNarr.
Wersollnichtdrberlachen?
Ha...ha!
WerschnatterndberKltelrmt
undsichbeinaherGlutnichtwrmt,
magselbstseinGlcknichtmachen.
EristfrwahreinganzerNarr.
Wersollnichtdrberlachen?
Ha...ha!
Werwinselt,jammert,schreitundflucht,
undwaserhat,erstngstilichsucht,
magselbstseinGlcknichtmachen.
EristfrwahreinganzerNarr.
Wersollnichtdrberlachen?
Ha...ha!

VieterAuftritt
N.11Arie
SOLIMAN
Ichbinsobsalsgut.
IchlohnedieVerdienste
mitreichlichemGewinnste;
dochreiztmanmeineWut,
sohabichauchwohlWaffen,
dasLasterzubestrafen,
unddiesefordernBlut.

FnfterAuftritt
N.12Arie
ZAIDE
TrostlosschluchzetPhilomele,
indemKfigeingeschrnkt,

95010MozartCompleteEdition
141

undbeweintmitregerKehle,
dassmanihreFreiheitkrnkt.
TagundNachtmagsie
nichtschlafen,
hpfendsuchtsieRaum
zurFlucht.
Ach,werknntesiewohlstrafen,
wennsiefindet,wassiesucht.

SechsterAuftritt
N.13Arie
ZAIDE
Tiger!wetzenurdieKlauen,
freudichdererschlichnenBeut.
StrafeintrichtesVertrauen
aufverstelleZrtlichkeit.
Kommnurschnellundtt
unsbeide,
saugderUnschuldwarmesBut.
Tiger!reissdasHerzvom
Eingeweide
understtgedeineWut.
AchmeinGomatz!mitunsArmen
hatdasSchiksalkeinErbarmen.
NurderTod
endigtunsreherbeNot.

SiebenterAuftritt
N.14Arie
ALLAZIM
IhrMchtigensehtungerhrt
aufeureSklavennieder,
undweileuchGlckundAnsehnziert,
verkenntihreureBrder.
NurderkenntMitleid,HuldundGnad,
der,ehmanihnzumRangerhoben,
deswandelbarenSchicksalsProben
imniedernStaubgesammelthat.

AchterAuftritt
N.15Quartett
GOMATZ
Freundin!stilledeineTrnen,
lassdenToddieLiebekrnen.
ALLAZIM
WelcheinSchmerz!meinHerzebricht!
SOLIMAN
AlleTrnenntzennicht.
ZAIDE
Lassmich,Herr,alleinverderben,
ichbinschuldig,Gomatznicht.
SOLIMAN
Allebeidemsstihrsterben!
ALLAZIM
WelcheinSchmerz!meinHerzebricht!
ZAIDE,GOMATZ
Himmel,hredochmeinFlehen,
lassallein(mitihr)michuntergehen.
ALLAZIM
Soliman,achhrmeinFlehen,
lasssienichtzugrundegehen.
SOLIMAN
Fort,vergebensistdeinFlehen,
lasssiezugrundegehen.
ZAIDE,GOMATZ
AchdasLebenhatfrmich
keinReizemehrinsich(ohnedich).
ALLAZIM
Mitleid,Herr,erhremich,
Mitleid,Herr,besnftgedich.


SOLIMAN
Fort,umsonstbemhstdirdich,
geh,deinFlehnbeleidigtmich.

THAMOS,KNIGINAGYPTEN(CD151)
Nr.1
BEIDECHRE(SONNENJUNGFRAUEN,
PRIESTER)
SchonWeichetdir,Sonne!
DesLichtesFeindin,dieNacht;
Schonwirdvongypten
DirneuesOpfergebracht:
ErhredieWnsche,dieWnsche
erhre,
ErhredieWnsche!
DeinewigdauernderLauf
FhrheitereTagezuThamosVlkern
herauf!
CHORDERPRIESTER
SOLO
DermunternJugendgib
Lenksamkeit,Tugend,
DenMnnernMut!
NachtapfernTatenWeisheitzum
Raten,
AllengibVaterlandsBlut.
BEIDECHRE
ErhredieWnsche!usw.
CHORDERSONNENJUNGFRAUEN
SOLO
gyptensTchterseinihrer
Geschlechter,
DerGattenZier!
Vergngt,imStillenPflichtzu
erfllen,
Blhendundjahrvollwiewir!
BEIDECHRE
ErhredieWnsche!usw.
CHORDERPRIESTER
SOLO
GekrntvomSiege
SchreckThamosimKriegederFeinde
Reich!
CHORDERSONNENJUNGFRAUEN
SOLO
FrunsdurchTriebe
SorgenderLiebeKnigundVater
zugleich!
BEIDECHRE
Schonweichetdir,Sonne!usw.

Nr.6
BEIDECHRE
Gottheit,berallemchtig!
Immerneuundimmerprchtig!
DichverehrtgyptensReich.
Steigend,ohnejezufallen,
seisdasersteReichausallen,
nurihmselbstanGregleich!
CHORDERPRIESTER
SOLO
VondesMittagsheiemSande
BiszumfernenMeeresstrande
WlktsichOpferrauchempor.
FrhschontnenunsreLieder,
HymnenbringtderAbendwieder,
nieverstummetunserChor.
CHORDERSONNENJUNGFRAUEN
SOLO
WieinweiteTempelhallen

UnterderTrompetenSchallen,
SanfterFltenZauberklang:
Somengtsich,OsirisShne,
UnserLiedineureTne,
Sonne,direinLobgesang.
EINPRIESTER
WasderMunddesFrsten
schwret,
EINEJUNGFRAU
WasvonseinemVolkerhret,
ZUSAMMEN
SeizubeiderWohlderGrund!
DERPRIESTER
Erunshold,
DIEJUNGFRAU
TreuwirdemThrone,
DERPRIESTER
Vatersorgen,
DIEJUNGFRAU
LiebzumLohne,
ZUSAMMEN
istderwechselweiseBund.
PRIESTER
Erunshold,usw.
BEIDECHRE
Gottheit,berallemchtig!usw.

Nr.7
DEROBERPRIESTER
IhrKinderdesStaubes,
Erzittertundbebet,
BevorihreuchwiderdieGtter
erhebet!
RchenderDonnerverteidigetsie
WiderdesFrevlersvergebeneMh!
TUTTI
WirKinderdesStaubeserzitternund
beben
UndneigendieHupterzurErd!
DenGtternzufrohnen,
SeiunserBestreben,
WasimmerihrRatschlubegehrt.
HchsteGottheitmildeSonne,
HrgyptensfrommesFlehn:
SchtzdesKnigsneueKrone,
Lasieimmeraufrechtstehn!
HchsteGottheit,mildeSonne,usw.

IDOMENEO(CD152153)
1.Ouverture

AttoIAppartamentidIlianelpalazzoreale,in
fondoalprospettounagalleria.
ScenaIIliasola
Recitativo
ILIA
Quandoavranfineomai
laspresventuremie?
Iliainfelice!Ditempesta
crudelmiseroavanzo,
delgenitoredegermani
priva,
delbarbaronemicomisto
colsangue,
ilsanguevittimegenerose,
aqualsortepireati
riserbanoiNumi?...
Purvendicastevoidi
Priamo
ediTroiaidannielonte?

95010MozartCompleteEdition
142

PerlaflottaArgiva,
eIdomeneopastoforse
sardorcavorace...
machemigiova,ohciel!
sealprimoaspettodiquel
prodeIdamante,
cheallondemirap,lodio
deposi,
epriafuschiavoilcor,
chemaccorgessidessere
prigioniera.
Ahqualcontrasto,ohDio!
doppostiaffettimidestate
nelsenodio,edamore!
Vendettadeggioachimi
dilavita,
gratitudineachivitami
rende...
ohIlia!ohgenitor!oh
prence!ohsorte!
ohvitasventurata!oh
dolcemorte!
Mache?mamaIdamante?
...
ahno;lingratoperElettra
sospira,
equellElettrameschina
principessa,esuledArgo,
dOresteallesciagurea
questearenefuggitiva,
raminga,miarivale.
Quantimisieteintorno
carneficispietati?...
orssbranatevendetta,
gelosia,odio,
edamoresbranates
questinfelicecore!

No.1.Aria
ILIA
Padre,germani,addio!
Voifoste,ioviperdei.
Grecia,cagiontusei.
Eungrecoadorer?
Dingrataalsanguemio
Sochelacolpaavrei;
Maquelsembiante,ohDei!
Odiareancornonso.

Recitativo
ILIA
EccoIdamante,ahim!sen
vien.
Miserocoretupalpiti,e
paventi.
Dehcessateperpoco,oh
mieitormenti!

ScenaIIIdamante,Ilia;seguitodIdamante
Recitativo
IDAMANTE(alseguito)
RadunateiTroiani,ite,
elacortesiaprontaquesto
giornoacelebrar.
(adIlia)
Didolcespemeaunraggio
scemailmioduol.
MinervadellaGrecia
protettriceinvol
alfurordellondeilpadre
mio;


inmardiquinonlunge
comparserlesuenavi;
indagaArbaceilsito,chea
noitoglielaugustoaspetto.
ILIA
(conironia)
Nontemer?difesada
MinervalaGrecia,
etuttaormaiscoppisovra
iTroianliradeNumi.
IDAMANTE
DelfatodeTroianpinon
dolerti.
Farilfiglioperlorquanto
farebbeilgenitor
eognaltrovincitor
generoso.
Ecco:abbianfine,
principessa,ilorguai:
rendolorlibertade,eomai
franoisolprigionierofia,
solfia,cheporta,chetua
beltlegcareritorte.
ILIA
Signorcheascolto?non
saziaronancora
glimplacabiliDeilodio,
losdegnodIlionle
glorioseordiroccatemura,
ahnonpimura,mavasto,
epianosuol?
aeternopiantodannate
sonlenostreegrepupille?
IDAMANTE
Venerenoipun,dinoi
trionfa.
Quantoilmiogenitor,ahi
rimembranza!
Soffrdefluttiinsen?
Agamemnonevittimain
Argoalfin,
acaroprezzocomprque
suoitrofei,
enoncontentaditante
stragiancorlaDeanemica,
chef?ilmiocortrafisse,
Ilia,cotuoibeilumipi
possentidesuoi,
einmevendicaadessoi
dannituoi.
ILIA
Chedici?
IDAMANTE
S,diCitereailfiglio
incognititormenti
stillommiinpetto;
atepiantoescompiglio
Marteport,
cercvendettaAmorein
medemalituoi,
queivaghirai,queituoi
vezziadopr...
maallamormiodirae
rossortuavvampi?
ILIA
Inquestiaccentimalsoffro
untemerarioardir,
dehpensa,pensa
Idamante,ohDio!
ilpadretuoqual,qualera
ilmio.

No.2.Aria
IDAMANTE
Nonhocolpa,emi
condanni
Idolmio,perchtadoro.
Colpavostra,ohDei
tiranni,
Edipenaafflittoiomoro
Dunerrorchemionon.
Setubrami,altuoimpero
Aprirommiquestoseno,
Netuoilumiilleggo,
vero,
Mameldicaillabbro
almeno
Enonchiedoaltramerc.
Recitativo
ILIA
(vedecondurrei
prigionieri)
6.Eccoilmiserorestode
Troiani,
dalnemicofurorsalvi.
IDAMANTE
Orqueiceppiioromper,
vuoconsolarliadesso.
(Ahi!perchtantofarnon
soamestesso!)

ScenaIIIIdamante,Ilia;Troianiprigionieri,
uominiedonneCretesi.
Recitativo
IDAMANTE
Scingetelecatene,
(silevanoaprigionierile
catene,
liqualidimostrano
gratitudine)
edoggiilmondo,ohfedele
Sidon,
sudditanostra,veggadue
gloriosipopoli
indolcenodoavvinti,
estrettidiperfettaamist.
ElenaarmlaGreciae
lAsia,
edoradisarmaeriunisce
edAsiaeGreciaeroina
novella,
principessapiamabile,e
pibella.

No.3.CoroCorodeTroianieCretesi
TUTTI
Godiamlapace,
TrionfiAmore:
Oraognicore
Giubiler.
DUECRETESI
Grazieachiestinse
Facediguerra:
Orslaterra
Riposoavr.
TUTTI
Godiamlapace,
TrionfiAmore:
Oraognicore
Giubiler.
DUETROIANI
Avoidobbiamo
PietosiNumi,

95010MozartCompleteEdition
143

Eaqueibeilumi
Lalibert.
TUTTI
Godiamlapace,
TrionfiAmore:
Oraognicore
Giubiler.

ScenaIVElettraedetti
Recitativo
ELETTRA
(agitatadagelosia)
Prence,signor,tuttala
Greciaoltraggi;
tuproteggiilnemico.
IDAMANTE
VederbastiallaGrecia
vintoilnemico.
Opradimepidegnaa
mirarsapparecchi,
ohprincipessa:veggail
vintofelice.
(vedevenireArbace)
Arbaceviene.

ScenaVArbaceedetti.Arbacemesto.
Recitativo
IDAMANTE
(timoroso)
Maquelpiantoche
annunzia?
ARBACE
Miosignore,demaliilpi
terribil...
IDAMANTE
(ansioso)
Pinonviveilgenitor?
ARBACE
Nonvive:quelcheMarte
farnonpotfinor,
feceNettuno,linesorabil
Nume,
edegleroiilpidegno,ora
ilriseppi,
pressoastranierasponda
affogatomor!
IDAMANTE
Ilia,deviventieccotiilpi
meschin.
Orsdalcielosoddisfatta
sarai...
barbarofato!...Corrasial
lido...ahim!sondisperato!
(parte)
ILIA
DellAsiaidanniancora
tropporisento,
epurdungranderoeal
nome,
alcaso,ilcorparmi
commosso,
enegargliisospirahno,
nonposso.
(partesospirando)

ScenaVIElettrasola
Recitativo
ELETTRA
EstintoIdomeneo?...
Tuttoamieidanni,tutto
congiurailciel!


PuasuotalentoIdamante
disporredunimpero,
edelcor,eamenonresta
ombradispeme?
Amiodispetto,ahilassa!
vedr,
vedrlaGreciaasuogran
scorno,
unaschiavaTroianadiquel
soglio
edeltalamohaparte...
invanoElettraami
lingrato...
esoffreunafigliadunre,
chharevassalli,chunavil
schiavaaspiri
algrandacquisto?...
Ohsdegno!Ohsmanie!oh
duol!...
pinonresisto.

No.4.Aria
ELETTRA
Tuttenelcorvisento,
Furiedelcrudoaverno,
Lungeasgrantormento
Amor,merc,piet.
Chimirubquelcore,
Quelchetraditohailmio,
Providalmiofurore,
Vendettaecrudelt.

ScenaVIISpiaggedelmareancoraagitato,
attorniatedadirupi.Rottamidinavisullido.
No5.Coro
COROVICINO
Piet!Numi!,piet!
AiutoohgiustiNumi!
Anoivolgeteilumi...
COROLONTANO
Piet!Numi,piet!
Ilciel,ilmare,ilvento
Ciopprimondispavento...
COROVICINO
Piet!Numi,piet!
Inbraccioacrudamorte
Cispingelempiasorte...

ScenaVIIIPantomima.Nettunocompariscesul
mare.Facennoaiventidiritirarsialleloro
spelonche.Ilmarepocoapocosicalma.
Idomeneo,
vedendoilDiodelmare,imploralasua
potenza.Nettunoriguardandoloconocchio
torvoeminaccevolesituffanellondee
sparisce.
Recitativo
IDOMENEO
Eccocisalvialfin.

ScenaIXIdomeneoconseguito
Recitativo
IDOMENEO
(alsuoseguito)
Ohvoi,diMarteedi
Nettunoallire,alle
vittorie,
aistentifidiseguacimiei,
lasciatemiperpocoqui
solorespirar,
ealcielnatioconfidaril

passatoaffannomio.
(Ilseguitosiritiraed
Idomeneosolo
sinoltrasullido,
contemplando.)
Tranquilloilmar,
aurasoavespiradidolce
calma,
eleceruleespondeil
biondoDioindora,
ovunqueiomiro,tuttodi
paceinsenriposa,egode.
Iosol,iosolsuquestearide
spiagge
daffannoedadisagio
estenuatoquellacalma,
ohNettuno,inmenon
provo,
chealtuoregnoimpetrai.
Ohvotoinsano,atroce!
giuramentocrudel!
ahqualdeNumimiserba
ancorinvita,
ohqualdivoimiporge
almenaita?

No.6.Aria
IDOMENEO
Vedrommiintorno
Lombradolente,
Chenotteegiorno:
Sonoinnocente
Maccenner.
Nelsentrafitto
Nelcorpoesangue
Ilmiodelitto,
Losparsosangue
Madditer.
Qualspavento,
Qualdolore!
Ditormento
Questocore
Quantevoltemorir!
(Vedeunuomoche
savvicina)

Recitativo
IDOMENEO
Cieli!cheveggo?
Ecco,lasventuratavittima,
ahim!sappressa...
equestemanileministre
saran?...
maniesecrande!Barbari,
ingiustiNumi!arenefande!

ScenaXIdomeneo,Idamanteindisparte
Recitativo
IDAMANTE
Spiaggeromite,evoi,
scosceserupi
testimonialmioduolsiate,
ecortesidiquestovostro
albergoaunagitatocor...
quantospiegatedimia
sorteilrigorsolinghi
orrori!...
Vedofraquelliavanzidi
fracassatenavi
suquellidosconosciuto
guerrier...

95010MozartCompleteEdition
144

voglioascoltarlo,vuo
confortarlo,
evoglioinletiziacangiar,
quelsuocordoglio.
(Sappressaeparlaad
Idomeneo)
Sgombra,ohguerrier,qual
tutisia,iltimore;
eccotiprontoatuo
soccorsoquello,
cheinquestoclimaoffrir
telpu.
IDOMENEO
(Piilguardo,pimi
struggeildolor.)
Degiornimieiilrestoate
dovr,
tuqualeavraipremioda
me?
IDAMANTE
Premioalmiocorsar
lesserpagodaverti
sollevato,
difeso:ahitroppo,amico,
dallemiseriemieinstrutto
iofuiaintenerirmialle
miseriealtrui.
IDOMENEO
(Qualvoce,qualpietil
miosentrafigge!)
Miserotu?chedici?
tisonconteletuesventure
appien?
IDAMANTE
Dellamormio,cielo!ilpi
carooggetto,
inquelliabissispintogiace
leroeIdomeneoestinto.
Matusospiri,epiangi?t
notoIdomeneo?
IDOMENEO
Uompidiquesto
deplorabilnonv,
nonvchiplachiilfato
suoaustero.
IDAMANTE
Chefavelli?viveegliancor?
(OhDei!tornoasperar.)
Ahdimmiamico,dimmi,
dov,
dovequeldolceaspetto
vitamirender?
IDOMENEO
Madondenascequesta,
cheperluinutritenerezza
damor?
IDAMANTE
(conenfasi)
Ah,chegliilpadre...
IDOMENEO
(interrompendolo
impaziente)
OhDio!Parla:dichiegli
ilpadre?
IDAMANTE
ilpadremio!
IDOMENEO
(SpietatissimiDei!)
IDAMANTE
Mecocompiangidelpadre
mioildestin?


IDOMENEO
(dolente)
Ahfiglio!...
IDAMANTE
(tuttogiulivo)
Ahpadre!...ahNumi!dove
sonio?...
ohqualtrasporto!...
Soffri,genitoradorato,che
altuoseno...
(vuoleabbracciarlo)
echeunamplesso...
(ilpadresiritiraturbato)
ahim!perchtisdegni?
disperatomifuggi?...
ahdove,ahdove?
IDOMENEO
Nonmiseguir,telvieto:
megliopertesariailnon
avermivedutoorqui;
paventa,paventail
rivedermi!
(parteinfretta)
IDAMANTE
Ahqualgelidoorror
mingombraisensi!...
lovedoappena,il
riconosco,
eamieiteneriaccentiin
unbalensinvola.
Misero!incheloffesi,e
comemaiquelsdegno
iomeritai,quelleminacce?
...
vuoseguirloeveder,oh
sortedura!
qualmisovrastiancorpi
reasventura.

No.7.Aria
IDAMANTE
Ilpadreadorato
Ritrovo,eloperdo.
Mifuggesdegnato
Fremendodorror.
Morirecreder
Digioiaedamore;
Or,barbariDei!
Muccideildolor.
(parteaddolorato)
INTERMEZZO
Ilmaretuttotranquillo.
SbarcanoletruppeCretesi
arrivateconIdomeneo.
Iguerriericantanoil
seguentecoro
inonorediNettuno.
LedonneCretesi
accorrono
adabbracciareiloro
felicementearrivati
esfoganolavicendevole
gioia
conunballogenerale,che
terminacolcoro.
Marciaguerrieradurante
losbarco.

No.8.Marcia

No.9.Coro
Corodeguerrierisbarcati
TUTTI
Nettunosonori,
Quelnomerisuoni,
QuelNumesadori,
Sovranodelmar;
Condanzeeconsuoni
Convienfesteggiar.
SOLO
Dalungeeimira
DiGiovelira,
Einunbaleno
VaallEgheinseno,
Daregalsede
Tostoprovvede,
Faigenerosi
Destriersquamosi,
Rattoaccoppiar.
SOLO
Dallondefuore
Suonansonore
Tritoniaraldi
Robustiebaldi
Buccineintorno.
Girideilgiorno,
Cheilgrantridente
Ilmarfurente
Seppedomar.
TUTTI
Nettunosonori,
Quelnomerisuoni,
QuelNumesadori,
Sovranodelmar;
Condanzeeconsuoni
Convienfesteggiar.
SOLO
Suconcadoro,
Regiodecoro
SpiraNettuno.
ScherzaPortuno
Ancorbambino
Colsuodelfino,
ConAnfitrite;
OrnoidiDite
Ftrionfar.
Nereideamabili,
Ninfeadorabili,
CheallagranDea,
ConGalatea
Corteggiofate,
Dehringraziate
PernoiqueiNumi,
Cheinostrilumi
Feroasciugar.
TUTTI
Nettunosonori,
Quelnomerisuoni,
QuelNumesadori,
Sovranodelmar;
Condanzeeconsuoni
Convienfesteggiar.
Orsuoninletrombe,
Solenneecatombe
Andiampreparar.

AttoIIAppartamentireali
SCENAIIdomeneo,Arbace
No.10a.RecitativoedAria

95010MozartCompleteEdition
145

Recitativo
ARBACE
Tuttomnoto.
IDOMENEO
Gonfioditanteimpreseal
varcoalfin
matteseilfierNettuno...
ARBACE
Esocheadannituoi,ad
Eolounito,
eaGioveilsuoregno
sconvolse...
IDOMENEO
S,chemestorseinvoto
umanavittima.
ARBACE
Dichi?
IDOMENEO
Delprimo,chesulla
spiaggia
incautoamesappressi.
ARBACE
Ordimmi:cheprimotu
incontrasti?
IDOMENEO
Inorridisci:ilmiofiglio...
ARBACE
Idamante!...iovengo
meno...
(perdendosidanimo)
IDOMENEO
DammiArbaceilconsiglio,
salvamiperpiet,salvamiil
figlio.
ARBACE
(pensa,poirisolve.)
Trovisiinaltroclimaaltro
soggiorno.
Purchalpopolsiceli.
PeraltraviaintantoNettun
siplacher,
qualchealtroNumedilui
curanavr.
IDOMENEO
Bendici,vero...
(VedevenireIlia.)
Iliasappressa,ahim!...
(Restaunpocopensosoe
poidecide.)
InArgoeivada,
esulpaternosogliorimetta
Elettra...
orvannealeiealfiglio,fa
chesianpronti;
iltuttosollecitodisponi.
Custodiscilarcano;
atemifido,atedovranno,
ohcaro,ohfidoArbace,
lavitailfiglioeilgenitorla
pace.

Aria
ARBACE
Seiltuoduol,seilmio
desio
Senvolasserodelpari,
Aubbidirtiqualsonio,
Sariailduolprontoa
fuggir.
Qualialtronosian
compagni,


Chilambisceorvedae
impari:
Stialontan,ononsilagni,
Senontrovachemartir.
(parte)

ScenaIIIdomeneo,Ilia
Recitativo
ILIA
Semaipomposoapparse
sullArgivoorizzonte
ilDiodiDelo,eccoloin
questogiorno,ohsire,
incuilaugustatua
presenza,
ituoidilettisuddititorna
invita,
elorpupille,cheti
pianseroestinto,or
rasserena.
IDOMENEO
Principessagentil,ilbel
serenoanchealletue
pupille
omairitorni,illungoduol
dilegua.
Dime,demieitesori,Ilia,
disponi,emiacurasar,
dartenechiareprove
dellamiciziamia.
ILIA
Soncerta,eundubbioin
mecolpasaria.

No.11.Aria
ILIA
Seilpadreperdei,
Lapatria,ilriposo,
(adIdomeneo)
Tupadremisei,
Soggiornoamoroso
Cretaperme.
Orpinonrammento
Langoscie,gliaffanni,
Orgioiaecontento,
Compensoamieidanni
Ilcielomidi.
(parte)

ScenaIIIIdomeneosolo
Recitativo
IDOMENEO
Qualmiconturbaisensi
equivocafavella?...
nesuoicasiqualmostraa
untratto
intempestivagioalaFrigia
principessa?...
Quei,chesprimeteneri
sentimentiperilprence,
sarebberforse...ahim!...
sentimentidamor,
gioiadispeme?...
Nonminganno,reciproco
lamore.
Troppo,Idamante,ascior
quellecatene
sollecitotufosti...
Eccoildelitto,cheinte
punisceilciel...
Ss,aNettuno,ilfiglio,il

padre,edIlia,
trevittimesaransullara
istessa,
daegualdolorafflitte,una
dalferro,
eduedalduoltrafitte.

No.12a.Aria
IDOMENEO
Fuordelmarhounmar
inseno,
Chedelprimopi
funesto.
ENettunoancorinquesto
Mainoncessaminacciar.
FieroNume!dimmi
almeno:
Sealnaufragiosvicino
Ilmiocor,qualriodestino
Orglivietailnaufragar?

Recitativo
IDOMENEO
Frettolosaegiuliva
Elettravien.Andiamo.
(parte)

ScenaIVElettrasola
Recitativo
ELETTRA
Chimaidelmioprov
piacerpidolce?
Parto,elunicooggetto,
chamoedadoro,
ohDei!mecosenvien?
Ahtroppo,troppoangusto
ilmiocoratantagioia!
Lungedellarivalefarben
ioconvezzi,
econlusinghechequel
foco,
chepriaspegnerenon
potei,
aqueilumisestingua,e
avvampiaimiei.

No.13.Aria
ELETTRA
Idolmio,seritroso
Altroamanteametirende,
Nonmoffenderigoroso,
Pimallettaausteroamor.
Scacciervicinoardore
Daltuosenlardor
lontano;
Pilamanopudamore
Svicinlamantecor.
(Sodedalontano
armoniosamarcia.)

No.14.Marcia
ELETTRA
Ododalungearmonioso
suono,
chemichiamaallimbarco,
orssivada.
(parteinfretta)

ScenaVPortodiSidoneconbastimentilungo
lespiagge.Elettra,truppadArgivi,diCretesie
dimarinari

95010MozartCompleteEdition
146

Recitativo
ELETTRA
Sidoniesponde!ovoiper
medipianto,
eduol,damornemico
crudoricetto,
orchastropiclementea
voimitoglie,
ioviperdono,einpaceal
lietopartirmio
alfinvilascio,edo
lestremoaddio!

No.15.Coro
CORO
Placidoilmar,
andiamo,
Tuttocirassicura.
Feliceavremventura,
Susu,partiamooror.
ELETTRA
SoaviZeffirisolispirate,
Delfreddoborealira
calmate.
Daurapiacevolecortesi
siate,
Sedavoispargesipertutto
amor.
CORO
Placidoilmar,andiamo,
Tuttocirassicura.
Feliceavremventura,
Susu,partiamooror.

ScenaVIIdomeneo,Idamante,Elettra,seguito
delre.
Recitativo
IDOMENEO
Vateneprence.
IDAMANTE
Ohciel!
IDOMENEO
Troppotarresti.
Parti,enondubbiafama,
dimilleeroicheimprese
iltuoritornoprevenga.
Diregnareselarte
apprendervuoi,
oraincominciaarenderti
demiseriilsostegno,
delpadreeditestesso
ognorpidegno.

No.16.Terzetto
IDAMANTE
Priadipartir,ohDio!
Soffricheunbacio
imprima
Sullapaternaman.
ELETTRA
Soffricheungratoaddio
Sullabbroilcoresprima:
Addio,degnosovran!
IDOMENEO
(adElettra)
Vanne,saraifelice,
(adIdamante)
Figlio!tuasortequesta.
Secondaivotiohciel!
ELETTRA
Quantosperarmilice!


IDAMANTE
Vado!
(Eilmiocorquiresta.)
IDOMENEO
Addio!
IDAMANTE
Addio!
ELETTRA
Addio!
ELETTRA,IDAMANTE,
IDOMENEO
Addio!
IDAMANTE,IDOMENEO
(Destincrudel!)
IDAMANTE
(OhIlia!)
IDOMENEO
(Ohfiglio!)
IDAMANTE
Ohpadre!ohpartenza!
ELETTRA
OhDei!chesar?
ELETTRA,IDAMANTE,
IDOMENEO
Dehcessiilscompiglio;
Delciellaclemenza
Suamanporger.
(Vannoversolenavi.
Mentrevannoad
imbarcarsi,
sorgeimprovvisa
tempesta.)

No.17.Coro
CORO
Qualnuovoterrore!
Qualraucomuggito!
DeNumiilfurore
Hailmarinfierito,
Nettuno,merc!
(Incalzalatempesta,il
maresigonfia,
ilcielotuonaelampeggia,
eifrequentifulmini
incendonolenavi.
Unmostroformidabile
sappresentafuori
dellonde.)
Qualodio,qualira
Nettunocimostra!
Seilcielosadira,
Qualcolpalanostra?
Ilreo,qual?
Recitativo

IDOMENEO
Eccotiinme,barbaro
Nume!ilreo!
Iosoloerrai,mesol
punisci,
ecada,cadasopradimeil
tuosdegno.
Lamiamortetisazialfin;
masealtraaverpretendi
vittima
alfallomio,unainnocente
dartiiononposso,
esepurtulavuoi...
ingiustosei,pretenderla
nonpuoi.
(Latempestacontinua.

ICretesispaventati
fuggono
enelseguentecorocol
cantoeconpantomime
esprimonoilloroterrore,
cichetuttoforma
unazioneanaloga
echiudelattocolsolito
Divertimento.)

No.18.Coro
CORO
Corriamo,fuggiamo
Quelmostrospietato!
Corriamo,fuggiamo,
Ahpredagisiamo!
Chi,perfidofato,
Picrudodite?
(partendo)
Corriamo,fuggiamo!

AttoIII
ScenaIGiardinoreale.Iliasola
No.19.RecitativoedAria
ILIA
Solitudiniamiche,aure
amorose,
piantefiorite,efiorivaghi,
uditedunainfeliceamante
ilamenti,
cheavoilassaconfido.
Quantoiltacerpressoal
miovincitore,
quantoilfingerticosta
afflittocore!

Zeffirettilusinghieri,
Dehvolatealmiotesoro:
Eglidite,chioladoro
Chemiserbiilcorfedel.
Evoipiante,efiorsinceri
Cheorainnaffiailpianto
amaro,
Ditealui,cheamorpi
raro
Maivedestesottoalciel.
Eistessovien...ohDei!
...
mispiego,otaccio?...
Resto...
Parto...omascondo?...
Ahrisolvernonposso,ah
miconfondo!

ScenaIIIlia,Idamante
Recitativo
IDAMANTE
Principessa,atuoi
sguardi
seoffrirmiardiscoancor,
pinonmiguidaun
temerarioaffetto;
altroornoncerco,che
appagartiemorir.
ILIA
Morir?tu,prence?
IDAMANTE
Pitecoioresto,pidite
maccendo,
esaggravamiacolpa,
acheilcastigopialungo

95010MozartCompleteEdition
147

differir?
ILIA
Maqualcagionemortea
cercartinduce?
IDAMANTE
Ilgenitorepiendismaniae
furoretorvo
miguardaefugge,eil
motivomicela.
Datuecateneavvinto,
iltuorigoreanuoviguai
mespone.
Unfieromostrofa
dappertuttoorridastrage.
Orquestoacombattersi
vada,evincerlositenti,
ofiniscalamorteimiei
tormenti.
ILIA
Calma,ohprence,un
trasportosfunesto:
Rammenta,chetuseidun
grandimpero
lunicaspeme.
IDAMANTE
Privodeltuoamore,privo,
Ilia,dite,nullamicale.
ILIA
Miserame!...dehserbai
giornituoi.
IDAMANTE
Ilmiofatocrudelseguir
deggio.
ILIA
Vivi...Iliatelchiede.
IDAMANTE
OhDei!cheascolto?
Principessaadorata!...
ILIA
Ilcorturbatoatemal
custodladebolezzamia:
purtroppoamoreetema
indivisihonelsen.
IDAMANTE
Odo?osolquelchebrama
fingeludito,
opureilgrandardore
magitaisensi,
eilcorlusingaoppressoun
dolcesogno?
ILIA
Ahperchprianonarsi,
chescoprirlamiafiamma?
milleiosentorimorsi
allalma!ilsacromio
dovere,
lamiagloria,lapatria,il
sanguedemieiancor
fumante,
ohquantoalcore
rimproveranoilmioribelle
amore!
...maalfinchefo?Gi
cheinperiglioestremoti
vedo,
ohcaro,etrartisolaio
posso,odimi,iotelridico:
tamo,tadoro,esemorir
tuvuoi,pria,
chemuccidailduolmorir
nonpuoi.


No.20a.Duetto
IDAMANTE
Siononmoroaquesti
accenti,
Nonver,cheamor
uccida,
Chelagioiaopprimaun
cor.
ILIA
Nonpiduol,nonpi
lamenti;
Iotisoncostanteafida:
Tuseiilsolomiotesor.
IDAMANTE
Tusarai...
ILIA
Qualtumivuoi.
IDAMANTE
Lamiasposa...
ILIA
Losposomiosaraitu,
IDAMANTE,ILIA
Lodicaamor.
Ahilgioirsorpassa
innoi
Ilsoffertoaffannorio:
Tuttovinceilnostro
ardor.

ScenaIIIIdomeneo,Elettraedetti
Recitativo
IDOMENEO
(Cieli!Chevedo!)
ILIA
(adIdamante)
Ahsiamscoperti,ohcaro.
IDAMANTE
(adIlia)
Nontemer,idolmio.
ELETTRA
(Eccolingrato.)
IDOMENEO
(Iobenmapposialver.Ah
crudofato!)
IDAMANTE
Signor,gipinonoso
padrechiamarti,
aunsudditoinfelice,deh,
questaalmenconcedi
unicagrazia.
IDOMENEO
Parla.
ELETTRA
(Chedir?)
IDAMANTE
Inchetoffesimai?perch
mifuggi?...
modi,eaborrisci?
ILIA
(Iotremo.)
ELETTRA
(Ioteldirei.)
IDOMENEO
Figlio:controdime
Nettunoiratogelommiil
cor,
ognituatenerezza
laffannomioraddoppia,
iltuodoloretuttosulcor
mipiomba,
erimirartisenzaribrezzo,

orrornonposso.
ILIA
(OhDio!)
IDAMANTE
ForsepercolpamiaNettun
sdegnossi?
malacolpaqual?
IDOMENEO
Ahplacarlopotessisenza
dite!
ELETTRA
(Ahpotessiitortimieior
vendicar!)
IDOMENEO
(adIdamante)
Parti,telocommando,
fuggiilpaternolido,
ecercaaltrovesicuroasilo.
ILIA
(adElettra)
Ahim!Pietosa
principessa,ahmi
conforta!
ELETTRA
Chioticonforti?ecome?
...
(ancorminsulta
lindegna.)
IDAMANTE
Dunqueiomenandr!...
madove?...
AhIlia,ohgenitor!
ILIA
(risoluta)
Oseguirti,omorir,mio
ben,voglio.
IDAMANTE
Dehresta,ohcara,eviviin
pace.Addio!
No.21.Quartetto
IDAMANTE
Andrramingoesolo,
Mortecercandoaltrove
Finchelaincontrer.
ILIA
Mavraicompagnaal
duolo,
Dovesarai,edove
Tumoia,iomorir.
IDAMANTE
Ah,no...
IDOMENEO
Nettunspietato!
Chiperpietmuccide?
ELETTRA
(Quandovendettaavr?)
IDAMANTE,ILIA
(adIdomeneo)
Serenailciglioirato.
ILIA,IDAMANTE,
IDOMENEO
Ahilcormisidivide!
ILIA,ELETTRA,
IDAMANTE,IDOMENEO
Soffrirpinonsipu.
Peggiodimorte
Sgrandolore.
Pifierasorte,
Penamaggiore
Nissunprov!

95010MozartCompleteEdition
148

IDAMANTE
Andrramingoesolo.
(parteaddolorato)

ScenaIVArbace,Idomeneo,Ilia,Elettra
Recitativo
ARBACE
Sire,allareggiatua
immensaturba
dipopoloaffollatoadalta
voceparlartichiede.
ILIA
(Aqualchenuovoaffanno
preparatimiocor.)
IDOMENEO
(Perdutoilfiglio.)
ARBACE
DelDiodemariilsommo
sacerdoteloguida.
IDOMENEO
(Ahitroppodisperatoil
caso!)
(adArbace)
intesiArbace...
ELETTRA
(Qualnuovodisastro?)
ILIA
(Ilpopolsollevato...)
IDOMENEO
Orvadoadascoltarla.
(parteconfuso)
ELETTRA
Tiseguir!
(parte)
ILIA
Voglioseguirtianchio.
(parte)

ScenaVArbacesolo
RecitativoeNo.22.Aria
ARBACE
SventurataSidon!inte
quaimirodimorte,
stragieorrorlugubri
aspetti?
AhSidonpinonsei,seila
cittdelpianto,
equestareggiaquelladel
duol.
Dunquepernoidalcielo
sbanditaognipiet?...
chisa?...iosperoancora...
chequalcheNumeamicosi
plachiatantosangue;
unNumesolobastatuttia
piegar...
allaclemenzailrigor
ceder...
maancornonscorgoqual
cimiripietoso...
Ahsordoilcielo!
AhCretatuttaiovedofinir
suagloriasottoalterovine!
No,suemiserieprianon
avranfine.
Secolnefatiscritto,
Creta,ohDei!srea,or
cada.
Paghiilfiodelsuodelitto,
Masalvateilprence,ilre.
Dehdunsolviplachiil


sangue,
Eccoilmio,seilmio
vaggrada,
Eilbelregnochegi
langue,
GiustiDei!abbiamerc.
(parte)

ScenaVIGranpiazzaabbellitadistatueavanti
alpalazzo,dicuisivededaunlatoil
frontespizio.ArrivaIdomeneoaccompagnato
dArbaceedalseguitoreale;ilrescortato
dArbacesisiedesoprailtronodestinatoalle
pubblicheudienze;GranSacerdoteequantit
dipopolo.
No.23.Recitativo
GRANSACERDOTE
Volgiintornolosguardo,
ohsire,
evediqualstrageorrenda
neltuonobilregno
failcrudomostro.
Ahmiraallagatedisangue
quellepubblichevie.
Adognipassovedraichi
geme,
elalmagonfiadatrovelen
dalcorpoesala.
Milleemillein
quellampio,esozzo
ventre,
priasepoltichemorti
perireiostessovidi.
Sempredisanguelordeson
quellefauci,
esonsemprepiingorde.
Datesolodipendeil
ripiego,damortetrartu
puoi,
ilrestodeltuopopolo,
chesclamasbigottito
edatelaiutoimplora,e
indugiancor?...
Altempio,sire,altempio!
Qual,dovlavittima?...
aNettunorendiquelloch
suo.
IDOMENEO
Nonpi...sacroministro;e
voipopoliudite:
lavittimaIdamante,eor
vedrete,ahNumi!
conqualciglio?Svenaril
genitorilpropriofiglio.
(parteturbato)

No.24.Coro
CORO
Ohvototremendo!
Spettacoloorrendo!
Giregnalamorte,
Dabissoleporte
Spalancacrudel.
GRANSACERDOTE
Ohcieloclemente!
Ilfiglioinnocente,
Ilvotoinumano;
Arrestalamano
Delpadrefedel.
CORO
Ohvototremendo!

Spettacoloorrendo!
Giregnalamorte,
Dabissoleporte
Spalancacrudel.
(partonotuttidolenti)

ScenaVIIVedutaesterioredelmagnifico
tempiodiNettunoconvastissimoatriochela
circonda,attraversodelqualesiscoprein
lontanolaspiaggiadelmare.
Latrioelegalleriedeltempiosonoripiene
dunamoltitudinedipopolo,lisacerdoti
preparanolecoseappartenentialsacrificio.
No.25.MarciaArrivaIdomeneoaccompagnato
danumerosoefastososeguito.

No.26.Cavatinaconcoro
IDOMENEO
Accogli,ohredelmar,i
nostrivoti,
placalosdegnotuo,iltuo
rigor!
SACERDOTI
Accogli,ohredelmar,i
nostrivoti,
placalosdegnotuo,iltuo
rigor!
IDOMENEO
Torninoalorspelonche
glEuri,iNoti,
torniZeffiroalmar,cessiil
furor.
Ilpentimento,eilcorde
tuoidevotiaccetta,
eanoiconcediiltuofavor!
SACERDOTI
Accogli,ohredelmar,i
nostrivoti,
placalosdegnotuo,iltuo
rigor!
CORO
(dentrolescene)
Stupendavittoria!
Eternatuagloria;
Trionfaohsignor!

Recitativo
IDOMENEO
Qualrisuonaquiintorno
applausodivittoria?

ScenaVIIIArbacefrettolosoedetti
Recitativo
ARBACE
Sire,ilprence,Idamante
leroe,
dimorteintraccia
disperato
correndoiltrionfotrov.
Sulempiomostro
scagliossifuribondo,
ilvinse,euccise.Eccoci
salvialfin.
IDOMENEO
Ahim!Nettunodinuovo
sdegnoaccesosarcontro
dinoi...
oror,Arbace,contuo
dolorvedrai,
cheIdamantetrovquel
checercava,

95010MozartCompleteEdition
149

edimorteeglistessoil
trionfosar.
ARBACE
(vedecondurre
Idamante)
Chevedo?...ohNumi!

ScenaIX
Idamanteinvestebianca,
ghirlandadifioriincapo,
circondatodaguardieeda
sacerdoti.
Moltitudinedimesto
popoloesuddetti.

No.27.Recitativo
IDAMANTE
Padre,miocaropadre,
ahdolcenome!
Eccomi,apiedituoi;
inquestoestremoperiodo
fatal,
suquestadestracheil
varcoalsanguetuo
nellemieveneaprirdovr,
glultimibaciaccetta.
Oracomprendo,cheiltuo
turbamentosdegno
noneragi,maamor
paterno.
Ohmillevolteemille
fortunatoIdamante,
sechivitatidivitati
toglie,
etogliendolaatelarende
alcielo,
edalcielolasuaincambio
impetra,
edimpetracostanteasuoi
lapace,
edeNumilamorsacroe
verace.
IDOMENEO
Ohfiglio!ohcarofiglio!
Perdona;
ilcrudouffizioinmescelta
non,
penadelfato...
Barbaro,iniquofato!...
Ahno,nonpossocontro
unfiglioinnocentealzar
lasprabipenne...
daognifibragisen
fuggonleforze,
eglocchimieitorbida
notteingombra...
ohfiglio!...
IDAMANTE
(languente,poirisoluto)
Ohpadre!...ahnon
tarrestiinutilepiet,
nvanatilusinghi
tenerezzadamor.
Dehvibrauncolpo,che
ambitolgadaffanno.
IDOMENEO
Ah,chenaturamel
contrasta,
eripugna.
IDAMANTE
Cedanaturaalsuo


autor;
diGiovequestolalto
voler.
Rammenta,rammentail
tuodover.
Seunfiglioperdi,
centoavrai,Numiamici.
Figlituoiituoipopoli
sono.
Maseinmiavecebrami
chitubbidiscaedami,
chitisiaaccanto,
edituecureilpesotecone
porti,
Iliatiraccomando;
dehunfigliotuesaudisci
chemoribondosupplica,
econsiglia:sellasposanon
m,
dehsiatifiglia.
Machepitardi?
Eccomipronto,
adempiilsacrifizio,ilvoto.
IDOMENEO
Ohqualmisentoinogni
vena
insolitovigor?...
orrisolutoson...
lultimoamplessoricevi...
emori.
IDAMANTE
Ohpadre!...
IDOMENEO
Ohfiglio!...
IDAMANTE,IDOMENEO
OhDio!...
IDAMANTE
(OhIlia...ahim!...)
(adIdomeneo)
vivifelice,addio.
IDOMENEO
Addio.
(Nellattodiferire
sopravieneIlia
edimpedisceilcolpo.)

ScenaXIliafrettolosa,Elettraedetti
Recitativo
ILIA
(correaritenereilbraccio
dIdomeneo)
Ferma,ohsire,chefai?
IDOMENEO
Lavittimaiosveno,
chepromisiaNettuno.
IDAMANTE
Ilia,taccheta...
GRANSACERDOTE
(adIlia)
Dehnonturbaril
sacrifizio...
ILIA
Invanoquellascurealtro
pettotentaferir.
Eccoti,sire,ilmio,la
vittimaioson.
ELETTRA
(Ohqualcontrasto!)
ILIA
(adIdomeneo)
InnocenteIdamante,

figliotuo,
edelregnolaspeme.
TiranniiDeinonson,
fallacisieteinterpretivoi
tutti
deldivinovoler.
Vuolsgombrailcielode
nemicilaGrecia,
enondefigli.
Benchinnocenteanchio,
benchoraamica,
diPriamosonfiglia,
eFrigiaionacquiper
naturanemica
algreconome.Orsmi
svena.
(singinocchiaavantial
GranSacerdote)
(Sodegranstrepito
sotterraneo,
lastatuadiNettunosi
scuote;
ilGranSacerdotesitrova
avantiallarainestasi.
Tuttirimangonoattoniti
edimmobiliperlo
spavento.
Unavoceprofondaegrave
pronunzia
laseguentesentenzadel
cielo.)

No.28d.
LAVOCE
HavintoAmore...
Idomeneocessiesserre...
losiaIdamante...edIliaa
luisiasposa,
efiapagoNettuno,
contentoilciel,
premiatalinnocenza.

No.29.Recitativo
IDOMENEO
Ohcielpietoso!
IDAMANTE
Ilia...
ILIA
Idamante,udisti?
ARBACE
Ohgioia,ohamor,oh
Numi!
ELETTRA
Ohsmania!ohfurie!oh
disperataElettra!...
VedrIdamanteallarivale
inbraccio?..
Ahno,ilgermanoOreste
necupiabissiiovu
seguir,
ororcompagnamavrail
dellinferno,
asempiterniguai,alpianto
eterno.
ELETTRA
15.DOreste,dAiace,
Hoinsenoitormenti,
DAlettolaface
Giamortemida.
Squarciatemiilcore,
Ceraste,serpenti

95010MozartCompleteEdition
150

Ounferroildolore
Inmefinira
(parteinfuriata)

ScenaXIIdomeneo,Idamante,Ilia,Arbace,
seguitodIdomeneo,dIdamanteedIlia;
popolo.
No.30.Recitativo
IDOMENEO
Popoli,avoilultima
legge
imponeIdomeneoqualre.
Pacevannunzio.
Compiutoilsacrifizio,e
scioltoilvoto.
Nettuno,etuttiiNumia
questoregnoamicison.
Resta,chealcennoloro
Idomeneooraubbidisca.
Ohquanto,ohsommiDei!
quantomgratoilcenno.
Eccoviunaltrore,unaltro
mestesso:
AIdamantemiofiglio,
alcarofigliocedoilsoglio
diCreta,
etuttoinsiemeilsovrano
poter.
Isuoicomandirispettate,
eseguiteubbidienti,comei
mieieseguiste
erispettaste,ondegratoio
vison:
questalalegge.Eccovila
realsposa.
Mirateinquestabella
coppia
undondelcieloserbatoa
voi.
Quantoasperarvilice!
OhCretafortunata!Ohme
felice!

Aria
IDOMENEO
Tornalapacealcore
Tornalospentoardore
Fiorisceinmeleta
TallastagiondiFlora
Lalberoannosoinfiora
Nuovovigorglida.
(Seguelincoronazione
dIdamante,
cheseseguiscein
pantomima,
edilcorochesicanta
durantelincoronazioneed
ilballo.)

No.31.Coro
ScendaAmor,scenda
Imeneo,
EGiunoneairegisposi,
Dalmapaceomailiposi
LaDeapronubanelsen!
FINE


DIEENTFHRUNGAUSDEMSERAIL(CD154
155)
Ouvertre

ErsterAufzugPlatzvordemPalastdesBassa
SelimamUferdesMeeres
No.1Arie
BELMONTE
Hiersollichdichdennsehen,
Konstanze,dichmeinGlck!
Lass,Himmel,esgeschehen:
GibmirdieRuhzurck!
IchduldetederLeiden,oLiebe,allzuviel!
SchenkmirdafrnunFreuden
UndbringemichansZiel.

Dialog

No.2LiedundDuett
OSMIN
WereinLiebchenhatgefunden,
Dieestreuundredlichmeint,
LohnesihrdurchtausendKsse,
MachihralldasLebenssse,
SeiihrTrster,seiihrFreund.
Tralallera,tralallera!
Dochsietreusichzuerhalten,
SchliesserLiebchensorglichein;
DenndielosenDingerhaschen
JedenSchmetterling,undnaschen
GarzugernvomfremdenWein.
Tralallera,tralallera!
SonderlichbeimMondenscheine,
Freunde,nehmtsiewohlinacht!
OftlauschtdaeinjungesHerrchen,
KirrtundlocktdaskleineNrrchen,
Unddann,Treue,guteNacht!
Tralallera,tralallera!
BELMONTE
VerwnschseistdusamtdeinemLiede!
IchbindeinSingennunschonmde;
SohrdochnureineinzigWort!
OSMIN
Was,Henker,latIhreuchgelsten,
Euchzuereifern,Euchzubrsten?
WaswolltIhr?Hurtig,ichmufort.
BELMONTE
IstdasdesBassaSelimHaus?
OSMIN
He?
BELMONTE
IstdasdesBassaSelimHaus?
OSMIN
DasistdesBassaSelimHaus.
(willfort)
BELMONTE
Sowartetdoch!
OSMIN
Ichkannnichtweilen.
BELMONTE
EinWort!
OSMIN
Geschwind,dennichmueilen.
BELMONTE
SeidIhrinseinenDiensten,Freund?
OSMIN
He?
BELMONTE
SeidIhrinseinenDiensten,Freund?
OSMIN
He?

BELMONTE
SeidIhrinseinenDiensten,Freund?
OSMIN
IchbininseinenDiensten,Freund.
BELMONTE
WiekannichdenPedrillwohlsprechen,
DerhierinseinenDienstensteht?
OSMIN
DenSchurken,derdenHalssollbrechen?
Sehtselberzu,wennsandersgeht.
(willfort)
BELMONTE
(frsich)
WasfreinaltergroberBengel!
OSMIN
(ihnbetrachend,frsich)
DasistjasoeinGalgenschwengel.
BELMONTE
Ihrirrt,esisteinbraverMann.
OSMIN
Sobrav,damanihnspieenkann.
BELMONTE
Ihrmtihnwahrlichnichtrechtkennen.
OSMIN
Rechtgut!Ichlieihnheutverbrennen.
Heut,heut,lieichohnverbrennen!
BELMONTE
EsistfrwahreinguterTropf!
OSMIN
AufeinenPfahlgehrtseinKopf!
(willfort)
BELMONTE
Sobleibetdoch!
OSMIN
WaswolltIhrnoch?
BELMONTE
Ichmchtegerne...
OSMIN
(hhnisch)
Sohbschvonferne
UmsHausrumschleichen,
UndMdchenstehlen?Fort,Euresgleichen
Brauchtmanhiernicht.
BELMONTE
Ihrseidbesessen,
SprechtvollerGalle
Mirsovermessen
InsAngesicht!
OSMIN
NunnichtinEifer!
IchkennEuchschon!
BELMONTE
SchontEurenGeifer!
LatEurerDrohn!
OSMIN
SchertEuchzumTeufel!
Ihrkriegt,ichschwre,
SonstohneGnade
DieBastonade!
NochhabtIhtZeit!
BELMONTE
EsbleibtkeinZweifel,
IhrseidvonSinnen!
WelcheinBetragen
AufmeineFragen!
Seiddochgescheit!
(ab)

Dialog

95010MozartCompleteEdition
151

No.3Arie
OSMIN
SolchehergelaufneLaffen,
DienurnachdenWeiberngaffen,
MagichvordenTeufelnicht;
DennihrganzesTunundLassen
Ist,unsaufdenDienstzupassen;
DochmichtrgtkeinsolchGesicht.
EureTcken,eureRnke,
EureFinten,eureSchwnke
sindmirganzbekannt.
Michzuhintergehen,
Msstihrfrhaufstehen,
IchhabauchVerstand.
Drum,beimBartedesPropheten!
IchstudiereTagundNacht,
DichsomitManierzutten,
Nimmdich,wieduwillstinacht.
Erstgekpft,
danngehangen,
danngespiet
aufheieStangen;
dannvebrannt,
danngebunden,
undgetaucht;
zuletztgeschunden.

Dialog

No.4RezitativundArie
BELMONTE
Konstanze,dichwiederzusehen,dich!
Owiengstlich,owiefeurig
KlopftmeinliebevollesHerz!
UnddesWiedersehensZhre
LohntderTrennungbangenSchmerz.
Schonzittrichundwanke,
Schonzagichundschwanke;
EshebtsichdieschwellendeBrust!
IstdasihrLispeln?Eswirdmirsobange!
WardasihrSeufzen?Esglhtmirdie
Wange!
TuschtmichdieLiebe?WareseinTraum?

Dialog

No.5ChorderJanitscharen
CHOR
SingtdemgroenBassaLieder,
Tne,feurigerGesang;
UndvomUferhallewider
UnsrerLiederJubelklang!
SOLI
Wehtihmentgegen,khlendeWinde,
EbnedichsanftermwallendeFlut!
SingtihmentgegenfliegendeChre,
SingtihmderLiebeFreudeninsHerz!
(DieJanitscharenab)

Dialog

No.6Arie
KONSTANZE
Achichliebte,
warsoglcklich,
KanntenichtderLiebeSchmerz;
SchwurihmTreue,demGeliebten,
GabdahinmeinganzesHerz.
DochwieschnellscwandmeineFreude,
TrennungwarmeinbangesLos;
UndnunschwimmtmeinAug


inTrnen,
KummerruhtinmeinemSchoss.

Dialog

No.7Terzett
OSMIN
Marsch!Trollteuchfort!
SonstsolldieBastonade
EuchgleichzuDienstenstehn!
BELMONTE,PEDRILLO
Ei,ei!Daswrjaschade,
Mitunssoumzugehn!
OSMIN
Kommtnurnichtnher,
Sonstschlagichdrein!
BELMONTE,PEDRILLO
WegvonderTre!
Wirgehnhinein!
(SiedrgenihnvonderTrweg)
OSMIN
Marsch,fort!Ichschlagedrein!
BELMONTE,PEDRILLO
Platz,fort!Wirgehnhinein!
(Siestoenihnwegundgehenhinein)

ZweiterAufzugGartenamPalastdesBassa
Selim.AnderSeiteOsminsWohnung.
Dialog

No.8Arie
BLONDE
DurchZrtlichkeitund
Schmeicheln,
GeflligkeitundScherzen
ErobertmandieHerzen
DergutenMdchenleicht.
DochmrrischesBefehlen,
UndPoltern,Zanken,Plagen
Macht,dassinwenigTagen
SoLiebalsTreuentweicht.

Dialog

No.9Duett
OSMIN
Ichgehe,dochrateichdir,
denSchurkenPedrillozumeiden.
BLONDE
Fort,packdichnichtmitmir,
Duweitja,ichkannesnichtleiden.
OSMIN
Versprichmir...
BLONDE
Wasflltdirdaein!
OSMIN
ZumHenker!
BLONDE
Fort,lamichallein!
OSMIN
Wahrhaftig,keinSchrittvon
derSchwelle,
Bistduzugehorchenmirschwrst.
BLONDE
Nichtsoviel,duarmerGeselle,
UndwennduderGromogulwrst.
OSMIN
OEnglnder!SeidihrnichtToren,
IhrlateuernWeiberndenWillen!
Wieisrmangeplagtundgeschoren,
Wennsocheinezuchtmanerhlt!

BLONDE
EinHerzsoinFreiheitgeboren
Ltniemalssichsklavischbehandeln;
Bleibt,wennschondieFreiheitverloren,
Nochstozaufsie,lachetderWelt!
Nuntrolldich!
OSMIN
Sosprichstdumitmir?
BLONDE
Nichtanders!
OSMIN
Nunbleibichersthier!
BLONDE
(sttihnfort)
Einandermal!Jetztmut
dugehen.
OSMIN
WerhatsolcheFrechheitgesehen!
BLONDE
(stelltsich,alswolltesieihm
dieAugenauskratzen)
EsistumdieAugengeschehen,
Woferndunochlngerverweilst!
OSMIN
(furchtsamzurckweichen)
Nurruhig,ichwilljagerngehen,
BevordugarSchlgeerteilst!
(Ergehtab)

No.10RezitativundArie
KONSTANZE
WelcherWechselherrschtinmeinerSeele
SeitdemTag,daunsdasSchiksaltrennte.
OBelmonte,hinsinddieFreuden,
DieichsonstandeinerSeitekannte!
BangerSehnsuchtLeiden
Wohnennundafrinderbeklemmten
Brust.
TraurigkeitwardmirzumLose,
Weilichdirentrissenbin.
GleichderwurmzernagtenRose,
GleichdemGrasimWintermoose,
WelktmeinbangesLebenhin.
SelbstderLuftdarfichnichtsagen
MeinerSeelebitternSchmerz,
Denn,unwilligihnzutragen,
HauchtsieallemeineKlagen
WiederinmeinarmesHerz.

Dialog

No.11Arie
KONSTANZE
MarternallerArten
Mgenmeinerwarten,
IchverlacheQualundPein.
Nichtssollmicherschttern.
Nurdannwrdichzittern,
Wennichuntreuknntesein.
Lassdichbewegen,verschonemich!
DesHimmelsSegenbelohnedich!
Dochdubistentschlossen.
Willig,unverdrossen,
WhlichjedePeinundNot.
Ordnenur,gebiete,
Lrme,tobe,wte,
ZuletztbefreitmichdochderTod.

Dialog

95010MozartCompleteEdition
152

No.12Arie
BLONDE
WelcheWonne,welcheLust
RegtsichnuninmeinerBrust!
VollerFreudenwillichspringen,
IhrdiefroheNachrichtbringen;
UndmitlachetundmitScherzen
Ihremschwachen,krankenHerzen
FreudundJubelprophezeihn.

Dialog

No.13Arie
PEDRILLO
FrischzumKampfe,frischzumStreite!
NureinfeigerTropfverzagt.
Solltichzittern,solltichzagen?
NichtmeinLebenmutigwagen?
Nein,achnein,esseigewagt!
NureinfeigerTropfverzagt.
FrischzumKampfe!Frisch
zumStreite!

Dialog

No.14Duett
PEDRILLO
VivatBacchus!Bacchuslebe!
BacchuswareinbraverMann!
OSMIN
Obichswage?Obsichtrinke?
ObswohlAllahsehenkann?
PEDRILLO
WashilftdasZaudern?Hinunter,hinunter!
Nichtlange,nichtlangegefragt!
OSMIN
Nunwrsgeschehen,nunwrshinunter!
Dasheiich,dasheiichgewagt!
BEIDE
EslebendieMdchen,
dieBlonden,dieBraunen!
Sielebennoch!
PEDRILLO
Dasschmeckttrefflich!
OSMIN
Dasschmecktherrlich!
BEIDE
Ah!dasheiichGttertrank!
VivatBacchus!
Bacchuslebe!
Bacchus,derdenWeinerfand!

Dialog

No.15Arie
BELMONTE
WennderFreudeTrnenfliessen,
LcheltLiebedemGeliebtenhold.
VondenWangensiezukssen
IstderLiebeschnster,grssterSold.
Ach,Konstanze!Dichzusehen,
DichvollWonne,vollEntzcken
AnmeintreuesHerzzudrcken.
LohntfrwahrnichtKronundPracht!
Ah,diesesselgeWiederfinden
Lsstinnigmicherstganzempfinden,
WelchenSchmerzdieTrennungmacht.

No.16Quartett
KONSTANZE
Ach,Belmonte!Ach,meinLeben!


BELMONTE
Ach,Konstanze!Ach,meinLeben!
KONSTANZE
Istesmglich?WelchEntzcken,
DichanmeineBrustzudrcken
NachsovielerTageLeid!
BELMONTE
WelcheWonne,dichzufinden!
NunmuallerKummerschwinden!
OwieistmeonHerzerfreut!
KONSTANZE
Sieh,dieFreudetrneflieen!
BELMONTE
Holde!Lahinwegsiekssen!
KONSTANZE
Daesdochdieletztesei!
BELMONTE
Ja,nochheutewirstdufrei!
PEDRILLO
AlsoBlondchen,hastsverstanden?
AllesistzurFluchtvorhanden,
UmSchlagZwlfesindwirda!
BLONDE
Unbesorgt!Eswirdnichtsfehlen,
DieMinutenwerdichzhlen,
WrderAugenblickschonda!
ALLE
EndlichschneitdieHoffnungssonne
HelldurchstrbeFirmament!
VollEntzcken,FreudundWonne
SehnwirunsrerLeidenEnd!
BELMONTE
Doch,ach!beiallerLust
EmpfindetmeineBrust
DochmanchgeheimeSorgen!
KONSTANZE
WasistesLiebster,sprich!
Geschwind,erklredich!
Ohaltmirnichtsverborgen!
BELMONTE
Mansagt...mansagt...duseist...
(BelmonteundKonstanzeseheneinander
stillschweigendundfurchtsaman)
KONSTANZE
Nunweiter?
PEDRILLO
(zeigt,daereswage,
gehenktzuwerden)
DochBlondchen,ach,dieLeiter!
Bistduwohlsovielwert?
BLONDE
HansNarr,schnapptsbeidirber?
Ei,httestdunurlieber
DieFrageumgekehrt.
PEDRILLO
DochHerrOsmin...
BLONDE
Lahren!
KONSTANZE
Willstdudichnichterklren?
BELMONTE
Mansagt...
PEDRILLO
DochHerrOsmin...
BELMONTE
Duseist...
PEDRILLO
DochHerrOsmin...
KONSTANZE
Nunweiter?

BLONDE
Lahren!
KONSTANZE
Willstdudichnichterklren?
BELMONTE
Ichwill.Dochzrnenicht,
WennichnachdemGercht,
Dasichgehrt,eswage,
Dichzitternd,bebendfrage,
ObdudenBassaliebst?
PEDRILLO
(zuBlonde)
HatnichtOsminetwan,
Wiemanfastglaubenkann,
SeinRechtalsHerrprobieret
Undbeidirexerzieret?
DannwrseinschlechterKauf!
KONSTANZE
(zuBelmonte)
Owiedumichbetrbst!
(Sieweint)
BLONDE
(zuPedrillo)
Da,nimmdieAntwortdrauf!
(gibtdemPedrilloeineOhrfeige)
PEDRILLO
(hltsichdieWange)
Nunbinichaufgeklrt!
BELMONTE
Konstanze,achvergib!
BLONDE
(gehtzornigvonPedrillo)
Dubistmichgarnichtwert!
KONSTANZE
(seufzendsichvonBelmontewegwendend)
Obichdirtreuverlieb?
BLONDE
(zuKonstanze)
DerSchlingelfragtgaran,
Obichihmtreugelieben.
KONSTANZE
(zuBlonde)
Belmontesagteman,
IchsolldenBassalieben!
PEDRILLO
(hltsichdieWange;zuBelmonte)
Dandeehrlichsei,
SchwrichbeiallenTeufeln!
BELMONTE
(zuPedrillo)
Konstanzeistmirtreu,
Daranistnichtzuzweifeln!
KONSTANZE,BLONDE
WennunsreEhrewegen
DieMnnerArgwohnhegen,
Verdchtigaufunssehn,
Dasistnichtauszustehn!
BELMONTE,PEDRILLO
SobaldsichWeiberkrnhen,
Dawirsieuntreudenken,
Dannsindsiewahrhafttreu,
VonallemVorwurffrei!
PEDRILLO
LiebstesBondchen,ach,verzeihe!
Sieh,ichbauaufdeineTreue
MehrjetztjaalsaufmeinenKopf!
BLONDE
Nein,daskannichdirnichtschenken,
Michmitsowaszuverdenken,
Mitdemalten,dummenTropf!

95010MozartCompleteEdition
153

BELMONTE
Ach,Konstanze!Ach,meinLeben!
Knntestdumirnochvergehen,
DaichdieseFragetat?
KONSTANZE
Belmonte,wie?Duknntestglauben,
DamandirdiesHerzknntrauben,
Dasnurdirgeschlagenhat?
PEDRILLO,BELMONTE
Ach,verzeihe!
BELMONTE,PEDRILLO
Ichbereue!
KONSTANZE,BLONDE
IchverzeihedeinerReue!
ALLE
Wohl,esseinunAbgetan!
EslebedieLiebe!
Nursieseiunsteuer;
NichtsfachedasFeuer
DerEifersuchtan.

DritterAufzugPlatzvordemPalastdesBassa
Selim.AufeinerSeitederOalastdesBassa;
gegenberdieWohnungdesOsmin;hinten
AussichtaufdasMeer.EsistMitternacht.
No.17Arie
BELMONTE
IchbaueganzaufdeineStrke,
Vertrau,oLiebe,deinerMacht,
Dennach!WaswurdennichtfrWerke
SchonoftdurchdichzuStandgebracht?
WasallerWeltunmglichscheint,
WirddurchdieLiebedochvereint.

Dialog

No.18Romanze
PEDRILLO
InMohrenlandgefangenwar
EinMdelhbschundfein;
Sahrotundweiss,warschwarzvonHaar,
SeufztTagundNachtundweintegar,
Wolltgerngetrstetsein.
DakamausfremdemLanddaher
EinjungerRittersmann;
DenjammertedasMdchendehr,
Ha,riefer,wagichKopfundEhr,
Wennichsierettenkann.
IchkommzudirinfinstrerNacht,
Lass,Liebchen,huschmichein!
IchfrchtewederSchlossnachWacht,
Holla,horchauf,umMitternacht
Sollstduerlsetsein.
Gesagt,getan;Glockzwlfestand
DertapfreRitterda;
SanftreichtsieihmdieweicheHand,
FrhmandieleereZellefand;
FortwarsieHopsasa!

Dialog

No.19Arie
OSMIN
Ha,wiewillichtriumphieren,
WennsieeuchzumRichtplatzfhren
UnddieHlseschnrenzu!
Hpfenwillich,lachen,springen
UndeinFreudenliedchensingen,
DennnunhabichvoreuchRuh.
Schleichtnursuberlichundleise,
IhrverdammtenHaremsmuse,


InserOhrentdeckteuchschon,
Undehihrunsknntentspringen,
SehicheuchinunsernSchlingen,
UnderhascheteurenLohn.

Dialog

No.20RezitativundDuett
BELMONTE
WelcheinGeschick!OQualderSeele!
Hatsichdennalleswidermich
verschworen!
Ach,Konstanze!Durchmichbistdu
verloren!
WelcheinePein!
BELMONTE
La,achGeliebter,ladichdasnicht
qulen.
WasistderTod?EinbergangzurRuh!
Unddann,andeinerSeite,
IsterVorgefhlderSeligkeit.
BELMONTE
Engelseele!WelchholdeGte!
DuflestTrostinmeinerschttertHerz,
DulinderstmirdenTodesschmerz
Undach,ichreiedichinsGrab.

Duet
Meinetwegenwillstdusterben!
Ach,Konstanze!Darfichswagen,
NochdieAugenaufzuschlagen?
IchbereutedirdenTod!
KONSTANZE
Belmonte,dustirbstmeinetwegen!
IchnurzogdihinsVerderben
Undichsollnichtmitdirsterben?
WonneistmirdiesGebot!
BEIDE
Ach,Geliebe(r),dirzuleben
IstmeinWunschundallmeinStreben;
OhnedichistmirsnurPein,
LngeraufderWeltzusein.
BELMONTE
Ichwillallesgerneleiden.
KONSTANZE
RuhigsterbichdannmitFreuden,
BEIDE
WeilichdirzuSeitebin.
UmdichGeliebte(r),
GbichgernmeinLebenhin!
OwelcheSeligkeit!
Mitdem(der)Geliebtensterben
IstseligesEntzcken!
MirwonnevollenBlicken
VerltmandadieWelt.

Dialog

No.21aVaudeville
BELMONTE
NiewerdichdeineHuldverkennen;
MeinDankseiewigdirgeweift;
AnjedemOrtzujederZeit
Werdichdichgroundedelnennen.
ALLE
WersovielHuldvergessenkann,
DensehmanmitVerachtungan!
KONSTANZE
NiewerdichimGenuderLiebe
Vergessen,wasderDankgebeut,
MeinHerz,derLiebenurgeweiht,

HegtauchdemDankgeweihteTriebe.
ALLE
WersovielHuldvergessenkann,
DensehmanmitVerachtungan!
PEDRILLO
Wennichesjevergessenknnte,
WienahichamErdrosselnwar.
UndallderanderenGefahr;
Ichlief,alsobderKopfmirbrennte.
ALLE
WersovielHuldvergessenkann,
DensehmanmitVerachtungan!
BLONDE
HerrBassa,ichsagrechtmitFreuden
VielDankfrKostundLagerstroh.
Osmin,dasSchiksalwillesso,
Ichmuvondiraufewigschneiden.
Wersowiedunurzangenkann,
DensiehtmanmitVerazhtungan!
OSMIN
VerbrennesolltemandieHunde,
Dieunssoschndlichhintergehn,
Esistnichtlngeranzusehn.
MirstocktdieZungefastimMunde,
UmifrenLohnzuordnenan:
Erstgekpft,
danngehangen,
danngespiet
aufheieStangen;
dannvebrannt,
danngebunden,
undgetaucht;
zuletztgeschunden.
(ErluftvollWutab)
KONSTANZE,BELMONTE,BLONDE,PEDRILLO
NichtsistsohlichalsdieRache;
Hingegenmenschlichgtigsein,
UndohneEigennutzverzeihn,
IstnurdergroenSeelenSache!
Werdiesesnichterkennenkann,
DensehmanmitVerachtungan!

No.21bChorderJanitscharen
CHOR
BassaSelimlebelange,
EhreseiseinEigentum!
SeineholdeScheitelprange
VollvonJubel,vollvonRuh.

Anhang:No.15AriaBelmonte:Wennder
Freude(Longversion)

DERSCHAUSPIELDIREKTOR(CD156)
(Musicalnumbersonly)
KomdiemitMusikineinemAkt
Music:WolfgangAmadeusMozart
Dateandplaceofcomposition:Vienna,
February3rd1786
Libretto:JohannGottliebStephanieder
Jngere
Premire:February7th1786,Orangerieat
Schnbrunn,Vienna

No.1Ariette
MADAMEHERZ
DaschlgtdieAbschiedsstunde,
umgrausamunszutrennen.
Wiewerd'ichlebenknnen,
oDamon,ohnedich?
Ichwilldichbegleiten,
imGeistdirzurSeiten

95010MozartCompleteEdition
154

schwebenumdich.
Unddu,unddu,
vielleichtaufewig
vergisstdafrdumich!
Dochnein!
wieflltmirsowasein?
Dukannstgewissnichttreulossein,
achnein,achnein.
EinHerz,dassoserAbschiedkrnket,
demistkeinWankelmutbekannt!
WohinesauchdasSchiksallenket,
nichtstrenntdasfestgeknpfteBand.

No.2Rondo
MADEMOISELLESILBERKLANG
BesterJngling!MitEntzcken
nehm'ichdeineLiebean,
daindeinenholdenBlicken
ichmeinGlckentdeckenkann.
Aberach!wenndstresLeiden
unsrerLiebefolgensoll.
lohnendiesderLiebeFreunden?
Jngling,dasbedenkewohl!
Nichtsistmirsowertundteuer
alsdeinHerzunddeineHand;
vollvomreinstenLiebesfeuer
geb'ichdirmeinHerzzumPfand.

No.3Terzett
MADEMOISELLESILBERKLANG
IchbindieersteSngerin.
MADAMEHERZ
Dasglaubichja,
nachIhremSinn.
MADEMOISELLESILBERKLANG
DassollenSiemirnichtbestreiten!
MADAMEHERZ
IchwillesIhnennichtbestreiten.
MONSIEURVOGELSANG
Ei,lassensiesichdochbedeuten!
MADEMOISELLESILBERKLANG
Ichbinvonkeinerzuerreichen,
daswirdmirjederzugestehn.
MADAMEHERZ
Gewiss,ichhabeIhresgleichen
nochniegehrt,undniegesehn.
MONSIEURVOGELSANG
WaswollenSiesicherstentrsten,
miteinemleerenVorzugbrsten?
EinjedeshatbesondernWert.
MADAMEHERZ
IchbindieersteSngerin.
MADEMOISELLESILBERKLANG
IchbindieersteSngerin.
MONSIEURVOGELSANG
Ei,ein,waswollenSiesicherstentrsten,
miteinemleerenVorzugbrsten?
MLLESILBERKLANG,MMEHERZ
Michlobteinjeder,dermichhrt.
MONSIEURVOGELSANG
Ei,ei,einjedeshatbesondernWert.
MADAMEHERZ
Adagio,adagio!
MADEMOISELLESILBERKLANG
Allegro,allegrissimo!
MONSIEURVOGELSANG
Pian,piano,pianissimo!Pianississimo!
KeinKnstlermussdenanderntadeln,
ersetztdieKunstzusehrherab.
MADAMEHERZ
Wohlan,nichtskanndieKunstmehradeln.


MADEMOISELLESILBERKLANG
Ganzrecht,nichtskanndieKunstmehradeln.
MADAMEHERZ
Ichsteh'vonmeinerFord'rungab.
MADEMOISELLESILBERKLANG
Ichsteheebenfallsnunab,
vonmeinerFord'rungab.
MADAMEHERZ
(leisezuMlle.Silberklang)
Ichbindieerste!

No.4Schlugesang
MADEMOISELLESILBERKLANG
JederKnstlerstrebtnachEhre,
wnschtdereinzigezusein;
undwenndieserTriebnichtwre,
bliebejedeKunstnurklein.
ALLEDREI
Knstlermssenfreilichstreben,
stetsdesVorzugswertzusein,
dochsichselbstdenVorzuggeben,
berandresicherheben,
machtdengrtenKnstlerklein.
MONSIEURVOGELSANG
Einigkeitrhm'ichvorallen
andernTugendenunsan,
denndasGanzemugefallen,
undnichtgroeineinz'lnerMann.
ALLEDREI
Knstlermssenfreilichstreben,
stetsdesVorzugswertzusein,
dochsichselbstdenVorzuggeben,
berandresicherheben,
machtdengrtenKnstlerklein.
MADAMEHERZ
Jedesleiste,wasihmeigen,
halteKunst,Naturgleichwert,
latdasPublikumdannzeigen,
wemdasgrteLobgehrt.
ALLEDREI
Knstlermssenfreilichstreben,
stetsdesVorzugswertzusein,
dochsichselbstdenVorzuggeben,
berandresicherheben,
machtdengrtenKnstlerklein.
BUFF
IchbinhierunterdiesenSngern
derersteBuffo,dasistklar.
IchheieBuff,nurumeinO
brauch'ichdenNamenzuverlngern,
sohei'ichohneStreit:Buffo.
ErgobinichderersteBuffo;
unddawieichkein'ssingenkann,
siehtmandenHerrendochwohlan.
ALLEDREI
Knstlermssenfreilichstreben,
stetsdesVorzugswertzusein,
dochsichselbstdenVorzuggeben,
berandresicherheben,
machtdengrtenKnstlerklein.

LENOZZEDIFIGARO(CD157159)
(CD157)
No.1.Sinfonia
Atto1
IlcastellodelConte
Almavivapressoa
Siviglia
(Unastanzamezzo
smobiliata.Sivedono

unagrandepoltrona
diammaloatoeuna
sedia.Figarosta
misurandolimpiantito.
Susannaallospeccio
sistamettendoun
cappellino)

No.2.Duettino
FIGARO
Cinque...dieci...
venti...
Trenta...trentasei...
quaranatre...
SUSANNA
Oras,chio
soncontenta,
Sembrafatto
inverperme.
FIGARO
Cinque...
SUSANNA
Guardaunpo,mio
caroFigaro...
FIGARO
dieci...
SUSANNA
guardaunpo,mio
caroFigaro,
FIGARO
venti...
SUSANNA
guardaunpo,
FIGARO
trenta...
SUSANNA
guardaunpo,
guardaadessoilmio
cappello!
FIGARO
trentasei...
SUSANNA
guardaadessoilmio
cappello,
FIGARO
quarantatre...
SUSANNA
guardaunpo,mio
caroFigaro,ecc.
FIGARO
S,miocore,or
pibello,
sembrafatto
inverperte.
SUSANNA
Guardaunpo,ecc.
FIGARO
S,miocore,ecc.
SUSANNA
Oraschioson
contenta,ecc.
FIGARO
S,miocore,ecc.
SUSANNA
Ahilmattinoalle
nozzevicino,
SUSANNA
quantdolcealmio
tenerosposo,
FIGARO
quantdolcealtuo

95010MozartCompleteEdition
155

tenerosposo.
SUSANNA,FIGARO
questobelcappellino
vezzoso,
cheSusannaellastessa
sife.ecc.
Recitativo
SUSANNA
Cosastaimisurando,
caroilmio
Figaretto?
FIGARO
loguardosequel
letto,checidestinail
conte,farbuona
figurainquestoloco.
SUSANNA
Inquestastanza?
FIGARO
Certo,anoilacede
generosoilpadrone
SUSANNA
Lopermeteladono.
FIGARO
Elaragione?
SUSANNA
(Sitoccalafronte)
Laragionelhoqui.
FIGARO
Perschnonpuoifar,
chepassiunpoqui?
SUSANNA
Perschnonvoglio;
seitumioservo,ono?
FIGARO
Manoncapisco
perschtantoti
spiacela
picomodastanza
delpalazzo.
SUSANNA
PerchiosonlaSusanna,
etuseipazzo.
FIGARO
Grazie;nontanti
elogi,guardaun
poco,se
potriasistarmeglioin
alroloco.

No.3.Duettino
FIGARO
SeacasoMadama
lanottetichiama,
dindin,induepassi
daquellapuoigir.
Vienpoiloccasione
chevuolmiil
padrone.
dondon,intresalti
lovadoaservir.
SUSANNA
Cosseilmattino
ilcarocontino,
dindin,etimanda
tremiglialontan,
dindin,dondon,
amiaporta
ildiavolloporta,
edeccointresalti...


FIGARO
Susanna,pian
pian,ecc.
SUSANNA
edecco,intresalti...
dindin...
dondon...Ascolta!
FIGARO
Fapresto!
SUSANNA
Seudirbramiilresto,
discacciaisospetti,
chetortomifan.
FIGARO
Udirbramoilresto,
idubbi,isospetti
gelaremifan
Recitativo
SUSANNA
Orbene;ascoltaetaci.
FIGARO
Parla,checdi
nuovo?
SUSANNA
Ilsignorconte,stanco
dandarcacciando
lestranierebellezze
forestiere,vuoleancor
nelcastelloritentarla
suasorte;ngidi
suaconsorte,bada
bene,lappetitogli
viene.
FIGARO
Edichidunque?
SUSANNA
SellatuaSusannetta,
FIGARO
Dite?
SUSANNA
Dimemedesma,ed
hasperanzachal
nobilsuoprogetto
utilissimasiatalvicinanza.
FIGARO
Bravo!Tiriamoavanti.
SUSANNA
Questelegrazieson,
questalacura
chegliprendedite,
dellatuasposa.
FIGARO
Ohguardaunpo,che
caritpelosa!
SUSANNA
Chetati,orvieneil
meglio:DonBasilio,
miomaestrodicanto,
esuomezzano,nel
darmilalezione,mi
ripeteognidquesta
canzone.
FIGARO
Chi!Basilio!Oh
birbante!
SUSANNA
Etucredevichefosse
lamiadotemerto
deltuobelmuso?
FIGARO
Meneralusingato.

SUSANNA
Eiladestinaper
otteneredamecerte
mezzorecheildiritto
feudale...
FIGARO
Come!Nefeudisuoi
nonlhailConte
abolito?
SUSANNA
Ebben,orapentito,e
parchetenti
riscattariodame.
FIGARO
Bravo!Mipiace!Che
carosignorConte!
Civogliamdivertir,
trovatoavete
Chisuona?La
Contessa.
SUSANNA
Addio,addio,addio,
Figarobello.
FIGARO
Coraggio,miotesoro.
SUSANNA
Etu,cervello.(parte)
FIGARO
Bravo,signorpadrone!
Oraincomincioa
capirilmistero,ea
vederschiettotuttoil
vostroprogetto:a
Londra,vero?Voi
ministro,iocorriero,e
laSusannasegreta
ambasciatrice,non
sar,nonsar!
Figaroildice!

No.4.Cavatina
FIGARO
Sevuolballare,
signorcontino.
ilchitarrinole
suoner,s,
sevuolvenirenella
miascuola,
lacapriolale
insegner,s.
Sapr,sapr,
mapiano,
meglioogniarcano
dissimulandoscoprir
potr.
Larteschermendo,
larteadoprando,
diquapungendo,
dilscherzando,
tuttelemacchine
rovescier.
Sevuolballare,ecc.
(Parte.Entrail
dottorBartolocon
Marcellina,un
contrattoinmano)
Recitativo
BARTOLO
Edaspettasteilgiorno
fissatoperlenozze
aParlarmidiquesto?

95010MozartCompleteEdition
156

MARCELLINA
Lononmiperdo,
dottormio,di
coraggio
perromperdesponsali
piavanzatidi
questobastspesso
unretesto;edegliha
meco,oltrequesto
contratto,certi
impegni
...soio...basta...
convienela
Susannaatterrir,
convienconarte
impuntigliarlaa
rifiutare
ilConte;egliper
vendicarsiprenderil
miopartito,eFigaro
cosfiamiomarito.
BARTOLO
(prendreilcontratto)
Bene,iotuttofar;
senzariservetuttoa
mepalesate.(tras)
Avreipurgustodi
dareinmoglielamia
servaanticaachimi
feceundrapir
lamica.

No.5.Aria
BARTOLO
Lavendetta,oh,
lavendetta,
unpiacerserbato
aisaggi,
lobliarlonte,
glioltraggi,
bassezza,
ognorvilt.
Collastuzia...
collarguzia,
colgiudizio,col
criterio
sipotrebbe...
ilfattoserio,
macredetesifar.
Setuttoilcodice
dovessivolgere,
setuttolindice
dovessileggere,
conunequivoco,
conunsinonimo,
qualchegarbuglio
sitrover.
Setuttoilcodice,ecc.
TuttaSiviglia
conosceBartolo,
ilbirboFigarovinto
sar,ecc.(parte)
Recitativo
MARCELLINA
Tuttoancornonho
perso:mirestala
speranza.MaSusanna
siavanza,iovo
provarmi...fingiam
nonvederla.
Equallabuonaperla


lavorrebbesposar!
(entraSusanna)
SUSANNA
Dimefavella.
MARCELLINA
MadaFigaroalfine
nonpumeglio
sperarsi:largent
faittout.
SUSANNA
Chelingua!Manco
male,chognunsa
quantovale.
MARCELLINA
Brava!Questo
giudizio!Conquegli
occhimodesti,con
quellariapietosa,
epoi
SUSANNA
(Megliopartir!)
MARCELLINA
Checara
sposa!(Vannotutte
dueperpartiree
sincontrano
allaporta)

No.6.Duettino
MARCELLINA
(faunariverenza)
Via,restiservita,
Madamabrillante.
SUSANNA
(faunariverenza)
Nonsonosardita,
madamapiccante.
MARCELLINA
(faunariverenza)
No,primaaleitocca.
SUSANNA
(faunariverenza)
No,no,toccaalei.
MARCELLINA
(faunariverenza)
No,primaaleitocca.
SUSANNA
(faunariverenza)
No,no,toccaalei.
MARCELLINA,
SUSANNA
(faunariverenza)
losoidovermiei,
nonfoincivilt,ecc.
MARCELLINA
(faunariverenza)
Lasposanovella!
SUSANNA
(faunariverenza)
Ladamadonore!
MARCELLINA
(faunariverenza)
Decontelabella!
SUSANNA
DiSpagnalamore!
MARCELLINA
Imeriti...
SUSANNA
Labito!...
MARCELLINA
Ilposto...

SUSANNA
Let...
MARCELLINA
PerBacco,precipito
seancor,seancor
restoqua.
SUSANNA
Sibilladecrepita.
daridermifa.
MARCELLINA
(faunariverenza)
Via,restiservita,ecc.
SUSANNA
(faunariverenza)
Nonsonosadita,ecc.
MARCELLINA
(faunariverenza)
Lasposanovella!Ecc.
SUSANNA
(faunariverenza)
Ladamadonore!Ecc.
(Marcellinaparte
furibonda)
Recitativo
SUSANNA
Val,vecchia
pedante,dottoressa
arrogante,perch
hailettodue
libri,e
seccataMadama
ingiovent...
(EntraCherubino)
CHERUBINO
Susannetta,seitu?
SUSANNA
Sonio,cosavolete?
CHERUBINO
Ah,cormio,che
accidente!
SUSANNA
Corvostro?Cosa
avvenne?
CHERUBINO
IlConteieri,perch
trovommisolcon
Barbarina,ilcongedo
midiede,esela
Contessina,lamia
bellacomare,grazia
nonmintercede,io
vadovia,iononti
vedopi,Susanna
mia.
SUSANNA
Nonvedetepime!
Bravo!Madunque
nonpiperlaContessa
segretamenteil
vostrocorsospira?
CHERBINO
Ah,chetropporispetto
ellaminspira!
Felicete,chepuoi
vederlaquandovuoi,
chelavestiilmattino,
chelaseraalspolgli,
chelemettiglispillo6
ni,imerletti...
Ah,seintuoloco...
Coshail?dimmi

95010MozartCompleteEdition
157

unpoco...
SUSANNA
Ah,ilvagonastroela
notturnacuffiadi
comaresbella.
CHERUBINO
Dehdammelo,sorella,
dammeloperpiet.
(prendeilnastro)
SUSANNA
Prestoquelnastro.
CHERUBINO
Ohcaro,ohbello,oh
fortunatonastro!
Lonontelrender
checollavita!
SUSANNA
Cosquestinsolenza?
CHERUBINO
Ehvia,stacheta!In
ricompensapoi
questamiaCanzonetta
iotivodare.
(Tiraunfogliodalla
suatasca)
SUSANNA
(cogliendoilfoglio)
Echenedebbofare?
CHERUBINO
Leggilaallapadrona;
leggilatumedesma,
leggilaaBarbarina,a
Marcellina...leggila
adognidonnadel
palazzo!
SUSANNA
PoveroCherubin,
sietevoipazzo!

No.7Aria
CHERUBINO
Nonsopicosa
son,cosafaccio,
ordifoco,orasono
dighiaccio,
ognidonnacangiar
dicolore,
ognidonnami
fapalpitar.
Soloainomi
damor,didiletto,
misiturba,mi
salterailpetto
eaparlaremi
sforzadamore
undesiochionon
possospiegar.
Nonsopicosa
son,ecc.
Parlodamor
vegliando,
parlodamor
sognando,
allacqua,all
ombre,aimonti,
aifiori,allerbe,
aifonti,
alleco,allaria,
aiventi,
cheilsuonde
vaniaccenti


portanoviacons.
Parlodamorvegliando,
ecc.
Esenonhochi
moda
parlodamorconme.
(Siodefuorilavoce
delConte.Cherubino
spaventatosinasconde
dietrolapoltrona)
Recitativo
SUSANNA
Taci,viengente,il
conte!ohme
meschina!
(entrailConte)
CONTE
Susanna,tumi
sembriagitatae
confusa.
SUSANNA
Signor...iochiedo
scusa...ma,semai
quisorpresa...
percaritpartite!
(IlContesiedenella
poltrina,prenden
dolelamano)
CONTE
Unmomento,
etilascio,Odi.
SUSANNA
Nonodonulla.
CONTE
Dueparole:tusaiche
ambasciatorea
Londrailremi
dichiar;dicondur
meco
Figarodestinai.
SUSANNA
Signor,seosassi...
CONTE
Parla,parla,miacara!
Econqueldritto,
choggiprendisume,
finchtuvivi,
chiedi,imponi,
prescrivi.
SUSANNA
Lasciatemi,signor,
drittinonprendo,
non
nevo,nonneintendo.
Ohmeinfelice!
CONTE
Ah,no,Susanna,ioti
vofarfelice!Tu
bensaiquantio
tamo;ateBasilio
tutto
gidisse,orsenti,
seperpochi
momenti
mecoingiardinsullimbrunir
delgiorno
ahperquestofavore
iopagherei
BASILIO
(dietrolequinte)
uscitopocofa.

CONTE
Chiparla?
SUSANNA
Ohdei!
CONTE
Esci,edalcinnon
entri.
SUSANNA
Chiovilascioqui
solo?
BASILIO
(sempredietro
lequinte)
DaMadamaeisar,
vadoacercarlo.
CONTE
(additandola
poltrona)
Quidietro
miporr.
SUSANNA
Nonvicelate.
CONTE
Taci,ecercachei
parta.
SUSANNA
Ohim!Chefate!
(IlContevuolnascondersi
dietrola
poltrona.Cherubino
passaaldavantidella
poltrona,simette
dentroinpiedie
Susannail
ricopreconuna
vestaglia.
EntraBasilio)
BASILIO
Susanna,ilcielvi
salvi;avresteacaso
vedutoilConte?
SUSANNA
Ecosadevefarmeco
ilConte?
(Animouscite.)
BASILIO
Aspettate,sentite,
Figarodiluicerca.
SUSANNA
(Ohcielo!)
Eicercachidopovoi
pilodia.
CONTE
Vediamcomemi
serve.
BASILIO
Lononhomainella
moralsentitochuno
chamalamoglieodii
ilmarito,perdir
cheilContevama
SUSANNA
Sortite,vilministro
dellaltruisfrenatezza:
iononhoduopo
dellavostramorale,
del
Conte,delsuoamor
BASILIO
Noncalcunmale.
Haciascunoisuoi

95010MozartCompleteEdition
158

gusti;iomicredeache
preferirdoveste
peramante,comefan
tuttequante,un
signorliberal,prudente
esaggio,aun
giovinastro,aun
paggio
SUSANNA
ACherubino!
BASILIO
ACherubino,aCherubin
damore,ch
oggisulfardelgiorno
passeggiavaqui
dintornoperentrar.
SUSANNA
Uomomaligno,
unimpostura
questa.
BASILIO
unmalignoconvoi,
chihagliocchiin
testa.Equellacanzonetta,
ditemiinconfidenza,
iosonoAmico,
edaltruinulladico,
pervoi,per
Madama?
SUSANNA
(Chidiavolglielha
detto?)
BASILIO
Apoposito,figlia,
istruitelomeglio,
eglila
guardaatavolas
spesso,econtale
immodestiachesil
Contesaccorge...esul
talpunto,sapete.egli
unabestia.
SUSANNA
Scellerato!Eperch
andatevoitai
menzogne
spargendo?
BASILIO
Lo!Cheingiustizia!
Quelchecomproio
vendo,aQuel
chetuttidicono
ionon
aggiungounpelo.
CONTE
(mostrandosi
improvvisamente)
Come!Chedicon
tutti?
BASILIO
Ohbella!
SUSANNA
Ohcielo!

No.8Terzetto
CONTE
Cosasento!
Tostoandate,
escacciateilseduttor.
BASILIO
Inmalpuntosonqui


giuto;
Perdonate,omio
signor.
SUSANNA
Cheruina,me
meschina,
sonoppressadal
terror!
CONTE
Tostoandate,ecc.
BASILIO
Inmalpunto,ecc.
SUSANNA
Cheruina,ecc.
(quasisvenuta)
CONTE,BASILIO
(sostenendola)
Ah!Gisvienla
poverina!
Come,ohDio,lebatte
ilcor,ecc.
BASILIO
Pianpianin,suquesto
seggio...
SUSANNA
(rinvenendo)
Dovesono?
Cosaveggio!
Cheinsolenza,andate
fuor,ecc.
BASILIO
Siamoquiper
aiutarvi,
sicuroilvostroonor.
CONTE
Siamoquiper
aiutarti,
Nonturbarti,
omiotesor.
BASILIO
Ahdelpaggioquel
chhodetto,
Erasoloun
miosospetto.
SUSANNA
uninsidia,
unaperfidia,
noncredete
allimpostor,ecc.
CONTE
Parta,partail
damerino,ecc.
SUSANNA,BASILIO
Poverino!ecc.
CONTE
Poverino!Poverino!
Madamesorpreso
ancor!
SUSANNA
Come?
BASILIO
Che?
SUSANNA
Che?
BASILIO
Come?
SUSANNA,BASILIO
Come?Che?
CONTE
Datuacugina,
luscioiertrovai

rinchiuso;
picchio,mapre
Barbarina
paurosafuordelluso,
io,dalmuso
insospettito,
guardo,cercoin
ognisito,
edalzandopian
pianino
iltappetoaltavolino,
vedoilpaggio.
(Imitailgestocolla
vestagliachecopre
Cherubinonella
poltronaeloscopre)
Ah!Cosaveggio!
SUSANNA
Ah,crudestelle!
BASILIO
Ah,meglioancora!
CONTE
Onestissimasignora,
orcapiscocomeva!
SUSANNA
Accadernonpu
dipeggio;
giustiDei,chemai
sar!
BASILIO
Cosfantuttelebelle
noncalcunanovit!
Ah,delpaggioquel
chehodetto
erasolounmio
sospetto.
Recitativo
CONTE
Basilio,intracciatosto
diFigarovolate;
iovoCheiveda
SUSANNA
Ediochesenta;
andate.
CONTE(aBasilio)
Restate,chebaldanza!
Equalescusasela
colpaevidente?
SUSANNA
Nonhaduopodi
scusauninnocente.
CONTE
Macostuiquando
venne?
SUSANNA
Eglierameco,quando
voiquigiungeste.
Emichiedeadimpegnar
lapadronaa
intercedergligrazia;
ilvostroarrivoin
scompigliolopose,ed
allorinquellocosi
nascose.
CONTE
Masiostessomassisi,
quandoincamera
entrai!
CHERUBINO
Edalloradidietroio
micelai.

95010MozartCompleteEdition
159

CONTE
Equandoiolmi
posi?
CHERUBINO
Alloriopianmivolsi
equimascosi.
CONTE
Ohciel!Dunqueha
sentitoquellochioti
dicea!
CHERUBINO
Fecipernonsentir
quantopotea.
CONTE
Ohperfidia!
BASILIO
Frenatevi,viengente.
CONTE
(aCherubino)
Evoirestatequi,
picciolserpente.

No.9Coro
(entranocontadineecontadiniepoiFigaro
convestebiancainmano)
CORO
Giovaniliete,fiori
spargete
davantiilnobile
nostrosignor.
Ilsuograncorevi
serbaintatto
dunpibelfiore
lalmocandor.
Recitativo
CONTE
Cosquesta
commedia?
FIGARO
(piano,aSusanna)
eccociindanza:
secondami,cormio.
SUSANNA
Noncihosperanza.
FIGARO
Signor,non
isdegnatequestodel
nostro
affettoMeriatotributo:
orcheabolisteun
dirittosingratoAchi
benama...
CONTE
Queldrittoornonv
pi,cosasibrama?
FIGARO
Dellavostrasaggezza
ilprimofruttooggi
noicoglierem:le
nostrenozzesisongi
stabilite,oravoitocca
costei,cheun
vostrodonoillibata
serb,coprirdi
questa,simbolodonest,
candidavesta.
CONTE(tras)
Diabolicaastuzia!Ma
fingereconvien.
(forte)
Songrato,amici,ad


unsensosonesto!
Manonmertoper
questonributi,n
lodi,eundrittoingiusto
nemieifeudi
abolendoanatura,al
doverlordrittiio
rendo.
TUTTI
Evviva,evviva,evviva!
SUSANNA
Chevirt!
FIGARO
Chegiustizia!
CONTE
Avoiprometto
compierlacerimonia.
ChiedosolBreve
indugio:iovoglioin
facciademieipifidi,
Econpiricca
pomparendervi
appienfelici.(tras)
Marcellina,sitrovi.
(forte)
Andate,amici.
Coro
CORO
Giovaniliete,fiori
spargete,ecc.
(partono)
FIGARO
Evviva!
SUSANNA
Evviva!
BASILIO
Evviva!
FIGARO
(aCherubino)
Evoinonapplaudite?
SUSANNA
afflitto,poveretto,
perschilpadronlo
scacciadalcastello.
FIGARO
Ah!Inungiornos
bello!
SUSANNA
Inungiornodinozze!
FIGARO(alConte)
Quandoognuno
annira.
CHERUBINO
Perdono,miosignor.
CONTE
Nolmeritate.
SUSANNA
Egliancora
fanciullo.
CONTE
Mendiquelchetu
credi.
CHERUBINO
ver,mancai;madal
miolabbroalfine
CONTE
Ben,ben,ioviperdono;
anzifardipi;
vacanteunposto
duffizialnelreggimento
mio,ioscelgovoi:

partitetosto,addio.
SUSANNA,FIGARO
Ah!Findomanisol..
CONTE
No,partatosto.
CHERUBINO
Aubbidirvi,signor,
songidisposto.
CONTE
Viaperlultimavolta
laSusannaabbracciate.
(tras)
Inaspettatoilcolpo.
(ConteeBasilio
partono)
FIGARO
Ehi,capitano,ame
purelamano.
Iovoparlartipria
chetuparta.
Addio,picciolo
Cherubino!Come
cangia
inunpuntoiltuo
destino!

No.10Aria
FIGARO
Nonpiandrai,
farfalloneamoroso,
notteegiorno
dintornogirando,
dellebelleturbando
ilriposo,
Narcisetto,Adoncino
damor.ecc.
Nonpiavraiquesti
beipennacchini,
quelcappelloleggiero
egalante,
quellachioma,
quellariabrillante,
quelvermiglio
donnescocolor.
Nonpiandrai,ecc.
Traguerrieripoffar
Bacco!
Granmustacchi,
strettosacco,
schioppoinspalla,
sciabolaalfianco,
collodritto,muso
franco,
oungrancasco,oun
granturbante,
moltoonor,
pococontante,
edinvecedel
fandango,
unamarciaper
ilfango,
permontagne,
pervalloni,
collenevi,eisolleoni,
alconcertodi
tromboni,
dibombarde,
dicannoni,
chelepallein
tuttiituoni
allorecchiofan

95010MozartCompleteEdition
160

fischiar.
Cherubinoalla
vittoria,
allgloriamilitar!
(partonomarciando
comesoldati)

(CD158)
Atto2
LacameradellaContessa
(Adestra,la
portadingresso;a
sinistra,laportadun
gabinetto;alfondo,
unaportachednella
cameradiSusanna;da
unlato,unafinestra.
Lacontessasola)

No.1.Cavatina
CONTESSA
Porgi,amor,
qualcheristoro,
almioduolo,
amieisospir!
Omirendiil
miotesoro,
omilascia
almenmorir!
Porgiamor,ecc.
(EntraSusanna)
Recitativo
CONTESSA
Vieni,carasusanna,
finiscimilistoria.
SUSANNA
gifinita.
CONTESSA
Dunquevollesedurti?
SUSANNA
Oh,ilsignorconte
nonfatai
complimenti
colleDonnemiepari;
eglivennea
contrattodidanari.
CONTESSA
Ah!Ilcrudelpinon
mama!
SUSANNA
Ecomepoi
gelosodivoi?
CONTESSA
Comelosonoi
modernimariti!Per
sistemainfedeli,per
geniocarpricciosie
perorgogliopoitutti
gelosi.
MaseFigarotama
eisolpotria
FIGARO(entrando)
La,la,la,la,la,la...
SUSANNA
Eccolo;vieni,amico,
Madamaimpaziente
FIGARO
Avoinontoccastare
inpenaperquesto.
Alfindichesitratta?
AlsignorConte


piacelasposamia;
indisegretamente
ricuperarvorriail
dirittofeudale;
possibilelacosae
naturale.
CONTESSA
Possibil?
SUSANNA
Natural?
FIGARO
Naturalissima,ese
Susannavuol,
possibilissima.
SUSANNA
Finiscilaunavolta.
FIGARO
Hogifinito.Quindi,
preseilpartitodi
scegliermecorriero,e
laSusannaconsigliera
segretadambasciata;
eperchella
ostinataognorrifiuta
ildiplomadonor
cheledestina,minaccia
diprotegger
marcellina;questo
tuttolaffare.
SUSANNA
Edhaicoraggiodi
trattarscherzandoun
negozioSserio?
FIGARO
Nonvibastache
scherzandoio
cipensi?
Eccoilprogetto:per
Basiliounbiglietto
ioglifocapitar,che
lavvertiscadicerto
appuntamento,che
perloradelballoa
unamantevoideste
CONTESSA
Ohciel!Chesento!Ad
unuomsgeloso
FIGARO
Ancorameglio,cos
potrempipresto
imbarazzarlo,confondero,
imbrogliarlo,
rovesciargliiprogetti,
empierlodisospetti,
eporgliintestachela
modernfestachei
difareametenta,altri
aluifaccia.Onde
quaperdailtempo,ivi
latraccia,cos
quasiexabruptoe
senzachabbia
fattoper
frastornarcialcun
disegnovien
loradelle
nozze,einfacciaalei
nonfiachosi
dopporsiaivotimiei.
SUSANNA
ver,maindiluivece

sopporrMarcellina.
FIGARO
Aspetta!Alcontefarai
subitodirche
versoserataspettinel
ingiardino.Il
picciolCherubino,
permioconsiglio
nonancorpartito,da
femminavestito,
faremo
cheinsuaveceivisen
vada;questa
lunicastrada,onde
Mons,sorpresoda
Madamo,siacostretto
afarpoiquelche
sibrama.
CONTESSA
Chetipar?
SUSANNA
Noncmal.
CONTESSA
Nelnostrocaso...
SUSANNA
Quandegli
persuaso...
CONTESSA
Edoveiltempo?
FIGARO
ItoilConteallacaccia,
eperqualchora
nonsardiritorno.Io
vado,etosto
Cherubinovimando;
lascioavoilacura
divestirlo.
CONTESSA
Epoi?
FIGARO
Epoi?
Sevuolvallare,signor
contino,
Ilchitarrinole
suoner,s,ecc.
(patre)
CONTESSA
Quantoduolmi,
Susanna,chequesto
giovinottoabbiadel
Contelestravaganze
udite!Ah!Tunonsai!
Maperqualcausa
maidamestessaei
nonvenne?Dovla
canzonetta?
SUSANNA
Eccola,appuntofacciam
checelacanti.
Zitto,viengente;
desso;avanti,avanti,
signoruffiziale.
(entraCherubino)
CHERUBINO
Ah,nonchiamarmi
connomesfatale!
Eimrammentache
abbandonardeggio
comaretantobuona.
SUSANNA
Etantobella!

95010MozartCompleteEdition
161

CHERUBINO
Ah,s,certo.
SUSANNA
Ah,s,certo;ipocritone!
Via,presto,la
canzonechestamane
amedeste,a
madamacantate.
CONTESSA
Chinlautor?
SUSANNA
Guardate,eglihadue
bracciadirossor
sullafaccia.
CONTESSA
Prendilamiachitarra,
elaccompagna.
CHERUBINO
Losonostremante;
masemadamavuole
SUSANNA
Lovuole,s,lovuol.
Mancoparole.

No.2Canzona
CHERUBINO
Voi,chesapete
checosaamor,
donnevedete,
siolhonelcor.
Quellochioprovo,
viridir,
epermenuovo,
capirnolso.
Sentounaffetto
piendidesir,
choradiletto,
choramartir.
Gelo,epoisento
lalmaavvampar,
einunmomento
tornoagelar.
Ricercounbene
fuoridime,
Nonsochiltiene,
nonsocos.
Sospiroegemo
senzavoler,
palpitoetremo
senzasaper;
nontrovopace
notte,nd,
mapurmipiace
languircos.
Voi,chesapete,ecc.
Recitativo
CONTESSA
Bravo!Chebellavoce!
Iononsapeache
cantastesbene.
SUSANNA
Ohinverit,eglifa
tuttobenquellochei
fa.Presto,anoi,bel
soldato:Figaro
vinform
CHERUBINO
Tuttomidisse.
SUSANNA
Lasciatemiveder:
andrbenissimo:


siamdugualestatura.
..giquelmanto.
CONTESSA
Chefai?
SUSANNA
Nientepaura.
CONTESSA
Esequalcuno
entrasse?
SUSANNA
Entri,chemal
facciamo?Laporta
chiuder.
Macomepoiacconciargli
icapelli?
(chiudelaporta)
CONTESSA
Unamiacuffia
prendinelgabinetto.
Presto!
(Susannavanel
gabinetto)
Checartaquella?
CHERUBINO
Lapatente.
CONTESSA
Chesollecitagente!
CHERUBINO
LbbiorordaBasilio.
CONTESSA
Dallafrettaobliato
hannoilsigillo.
SUSANNA
(tornando)
Ilsigillodiche?
CONTESSA
Dellapatente.
SUSANNA
Cospetto!
Chepremura!
Eccolacuffia.
CONTESSA
Spicciati;vabene;
miserabilinoi,
seilConteviene.

No.3.Aria
SUSANNA
Venite,
inginocchiatevi,
restatefemol!
Pian,piano,
orviagiratevi,
bravo,vabencos,
lafacciaora
volgetemi,
ol!Quegli
occhiame,
drittissimo,
guardatemi,
Madamaquinon.
Pialtoquelcolletto,
quelciglioun
popibasso,
lemanisottoilpetto,
vedremoposcia
ilpasso
quandosareteinpi.
Mirateilbricconcello,
miratequantobello!
Chefurba

guardatura,
chevezzo,chefigura!
Selamanole
femmine,
hancertoil
lorpersch.
Recitativo
CONTESSA
Quantebuffonerie!
SUSANNA
Masenesonoio
medesmagelosa!
Ehi!serpentello,
voletetralasciar
dessersbello?
CONTESSA
Finiamleragazzate;
orquellemaniche
oltreilgomitogli
alza,ondepi
agiatamente
labito
glisiadatti.
SUSANNA
(eseguendo)
Ecco!
CONTESSA
Piindietro,cos;che
nastroquello?
SUSANNA
quelchesso
involommi.
CONTESSA
(snodandoilnastro)
Equestosangue?
CHERUBINO
Quelsangue...ionon
socome,pocopria
sdrucciolando...inun
sassolapelleiomi
sgraffiai...elapiagacol
nastroiomifasciai.
SUSANNA
Mostrate:nonmal;
cospetto!Hail
bracciopicandido
delmio!Qualche
ragazza
CONTESSA
Eseguiafarlapazza?
Vanelmiogabinetto,
eprendiunpoco
dinglesetaffet,ch
sulloscrigno.
(Susannaentra
nelgabinetto)
Inquantoal
nastro...inver...
perilcolore
mispiaceadi
privarmene.
SUSANNA
(rientrando)
Tenete,edalegargliil
braccio?
CONTESSA
Unaltronastroprendi
insiemcolmiovestito.
(Susannaparteperla
portachinfondo,
portandosecoilmantello

95010MozartCompleteEdition
162

delpaggio)
CHERUBINO
Ah!Piprestomavria
quelloguarito!
CONTESSA
Persch?Questo
migliore.
CHERUBINO
Allorcheun
nastro...legla
chioma...
ovvertoccla
pelle...doggeto...
CONTESSA
Forstiero,buonper
leferite,non
vero?Guardatequalit
chiononsapea!
CHERUBINO
Madamascherza,ed
iofrattantoparto.
CONTESSA
Poverin!
Chesventura!
CHERUBINO
Ohmeinfelice!
CONTESSA
Orpiange...
CHERUBINO
Ohciel!Persch
morirnonlice!
forsevicinoall
ultimomomento...
questaboccaoseria...
CONTESSA
Siatesaggio,cos
questafollia?
(sisentepicchiare)
Chipicchiaallamia
porta?
CONTE(fuori)
Perschchiusa?
CONTESSA
Ilmiosposo!OhDei!
Sonmorta.
Voiquisenzamantello!
Inquestostato...
unricevutofoglio,la
suagrangelosia...
CONTE
Cosaindugiate?
CONTESSA
Sonsola...ahs...
sonsola...
CONTE
Eachiparlate?
CONTESSA
Avoi...certo,
avoistesso.
CHERUBINO
Dopoquelch
successo...ilsuo
furore...
nontrovoaltro
consiglio...
(Cherubinosinasconde
nelgabinetto)
CONTESSA
Ah!Midifendailcielo
intalperiglio!
(laContessachiudela


portaeprendela
chiave,poicorread
aprirealConte)

No.4
CONTE
Chenovit!Nonfu
maivostrausanzadi
rinchiuderviinstanza.
CONTESSA
ver;ma...iostava
quimettendo...
CONTE
Via,mettendo...
CONTESSA
Certerobe;erameco
laSusanna,chein
suacameraandata.
CONTE
Adognimodovoi
nonsietetranquilla.
Guardatequesto
foglio.
CONTESSA(tras)
Numi!ilfoglioche
Figarogliscrisse.
(siodeunsubito
chiassonelgabinetto)
CONTE
Coscodestostrepito?
Ingabinetto
qualchecosacaduta.
CONTESSA
Iononintesiniente.
CONTE
Conviencheabbiate
igranpensieriin
mente.
CONTESSA
Diche?
CONTE
Lavqualcuno.
CONTESSA
Chivoletechesia?
CONTE
Lochiedoavoi;io
vengoinquesto
punto.
CONTESSA
Ahs...
Susanna.
appunto...
CONTE
Chepass,midiceste,
allasuastanza.
CONTESSA
Allasuastanza,
oqui,nonvidibene.
CONTE
Susanna,edonde
vienechesietes
turbata?
CONTESSA
Perlamia
cameriera?
CONTE
Iononsonulla;ma
turbatasenzaltro.
CONTESSA
Ahquestaservapi
chenonturbame,

turbavoistesso.
CONTE
vero,vero!
Elovedreteadesso.
(Susannaentra
perlaportadel
fondoesi
fermaveden
doilConte
chenonlavede)

No.5.Terzetto
CONTE
(picciandoallaportadelgabinetto)
Susanna,orviasortite,
sortite,cosvo.
CONTESSA
Fermatevi,sentite,
sortireellanonpu.
SUSANNA
Coscodestalite?
ilpaggiodoveand?
CONTE
Echivietarloorosa?
Chi?
CONTESSA
Lovieta,lovieta
lonest.
Unabitodasposa
provandoellasista.
CONTE
Chiarissimalacosa
lamantequisar,ecc.
CONTESSA
Bruttissimalacosa,
chisa,cosasar,ecc.
SUSANNA
Copiscoqualchecosa,
veggiamocome
va,ecc.
CONTE
Susanna,
CONTESSA
Fermatevi!
CONTE
orviasortite!
CONTESSA
Sentite!
CONTE
Sortite!
CONTESSA
Fermatevi!
CONTE
Iocosvo!
CONTESSA
Sortireellanonpu.
CONTE
Dunqueparlate
almeno,
Susanna,sequisiete?
CONTESSA
Nemmen,nemmen,
nemmeno,
iovordino,tacete.
CONTE
Consortemia
giudizio,
unscandalo,
undisordine,
schiviampercarit!

95010MozartCompleteEdition
163

SUSANNA
Ohciel!Un
precipizio,
unscandalo,
undisordine,
quicertonascer!
CONTESSA
Consortemio,
giudizio,
unscandalo,
undisordine,
schiviampercarit!
Recitativo
CONTE
Dunquevoi
nonaprite?
CONTESSA
Eperschdeggiole
miecamereaprir?
CONTE
Ebbenlasciate,
lapriremsenzachiavi.
Ehi,gente.
CONTESSA
Come?Porrestea
repentaglioduna
damalonore?
CONTE
vero,iosbaglio,
possosenzarumore,
senzascandaloalcun
dinostragente,
andariostessoaprender
loccorrente.
Attendetepurqui
maperschintutto
siailmiodubbiodistrutto
ancoleporte
ioprimachiuder
(chiudeachiavela
portadelfondo)
CONTESSA
Cheimprudenza.
CONTE
Voilacondiscendenza
divenirmecoavrete.
Madama,eccoviil
braccio,andiamo!
CONTESSA
Andiamo!
CONTE
Susannastarqui
finchtorniamo.
(partonolSusanna
esceinfretta
dallalcova
incuisieranascostae
correallaportadel
gabinetto)

No.6.Duettino
SUSANNA
Aprite,presto,aprite,
aprite,laSusanna;
sortite,viasortite
andateviadiqua.
CHERUBINO
(escendotutto
confuso)
Ohim,chescena
orribile!


Chegranfatalit!
SUSANNA
Diqua...dil...
CHERUBINO
Chegranfatalit!
SUSANNA,
CHERUBINO
Leportesonserrate,
chemaisar?
CHERUBINO
Quiperdersi
nongiova.
SUSANNA
Vuccidesevitrova.
CHERUBINO
(appressandosi
allafinestra)
Veggiamounpo
quifuori,
(vapersaltare)
dproprionel
giardino.
SUSANNA
(trattenendolo)
Fermate,Cherubino,
fermate,perpiet!
CHERUBINO
Quiperdersinon
giova,
SUSANNA
Fermate,Cherubino.,
CHERUBINO
muccidesemitrova,
SUSANNA
Troppalto
perunsalto.
Fermateperpiet!
CHERUBINO
Lasciami,lasciami!
Priadinuocerie,
nelfocovolerei!
Abbraccioteperlei!
Addio!Cossifa!
(saltaperlafinestra)
SUSANNA
Eivaaperire,ohdei!
Fermateperpiet!
(vaaguardare)
Recitativo
Ohguardaildemonietto
comefugge!
giunmigliolontanto;
manon
perdiamciinvano:
entriamnelgabinetto;
vengapoilosmargiasso,
ioquilaspetto.
(entranelgabinettoe
visichiudedentro.
RitornanoilContee
laContessa)
CONTE
Tuttocomeillascial:
voletedunque
aprirvoistessa,
odeggio...
CONTESSA
Ahim!Fermate,e
ascoltatemiunpoco:
micredetecapacedi
mancaraldover?

CONTE
Comevipiace,entro
quelgabinettochiv
chiusovedr.
CONTESSA
S,lovedrete,ma
uditemitranquillo.
CONTE
Nondunque
Susanna?
CONTESSA
No,mainveceun
oggettocheragiondi
sospettononvideve
lasciar:perquesta
sera...unaburla
innocente...difarsi
disponeva...ediovi
giurochelonor...
lonest...
CONTE
Chidunque?
dite...Luccider.
CONTESSA
Sentite...ahnon
hocor!
CONTE
Parlate!
CONTESSA
unfanciullo...
CONTE
Unfanciul?
CONTESSA
S...Cherubino...
CONTE
Emifarildestino
ritrovarquestopaggio
inogniloco!
Come?Non
partito?Scellarati!
Eccoi
dubbispiegati,ecco
limbroglio,eccoil
raggiroonde
mavverteilfoglio.

No.7.Finale
CONTE
(vafuriosoallaportadelgabinetto)
Esciormai,
garzonmalnato,
sciagurato,
nontardar.
CONTESSA
Ah!signore,quel
furore,
perluifammiil
cortremar.
CONTE
Edopporviancor
osate?
CONTESSA
No,sentite.
CONTE
Viaparlate!
CONTESSA
Giuroalciel,
chognisospetto...
elostatoinche
iltrovate,
scioltoilcollo,

95010MozartCompleteEdition
164

nudoilpetto...
CONTE
Scioltoilcollo!
Nudoilpetto!
Seguitate!
CONTESSA
Pervestirfemminee
spoglie...
CONTE
Ah!comprendo,
indegnamoglie;
mivotostovendicar.
CONTESSA
Mifatortoquel
trasporto;
moltraggiatea
dubitar.
CONTE
Ah,comprendo,
indegnamoglie,
mivotostovendicar.
CONTE
Qualachiave!
CONTESSA
Egliinnocente...
CONTE
Qualachiave!
CONTESSA
Egliinnocente.
Voisapete...
CONTE
Nonsoniente!
Valontandagli
occhimiei,
uninfida,
18
unempiasei,
emicerchidinfamar!
CONTESSA
Vado...s...ma...
CONTE
Nonascolto,
CONTESSA
ma...
CONTE
nonascolto.
CONTESSA
(dlachiavealConte)
...nonsonrea!
CONTE
Velleggoinvolto!
Mora,mora,pi
nonsia
riacagiondelmio
penar.
CONTESSA
Ah!Laciecagelosia,
qualeeccesso
glifafar!
(IlContesnudail
ferroedaprela
portadel
gabinetto.Entra
Susanna)
CONTE
Susanna!
CONTESSA
Susanna!
SUSANNA
Signore!
Cosquelstupore?


Ilbrandoprendete,
ilpaggiouccidete,
quelpaggiomalnato
vedeteloqua.
CONTE
Chescola!
Latestagirando
miva!
CONTESSA
Chestoriamai
questa,
Susannavl!
SUSANNA
Confusahanlatesta,
nonsancomeva!
CONTE(aSusanna)
Seisola?
SUSANNA
Guardate,qui
ascososar.
CONTE
Guardiamo,qui
ascososar,ecc.
(entranelgabinetto)
CONTESSA
Susanna,sonmorta..
ilfiatomimanca.
SUSANNA
Pilieta,pifranca,
insalvodigi.
CONTE
(escendoconfuso
dalgabinetto)
Chesbagliomaipresi!
Appenalocredo;
seatortovoffesi
perdonovochiedo,
mafarburlasimile
poicrudelt.
CONTESSA,
SUSANNA
Levostrefollie
nonmertanpiet.
CONTE
Iovamo!
CONTESSA
Noldite!
CONTE
Velgiuro!
CONTESSA
Mentite!
Sonlempia,linfida
chognoravinganna.
CONTE
Quellira,Susanna,
maitaacalmar.
SUSANNA
Cossicondanna
chipusospettar.
CONTESSA
dunquelafede
dunanimaamante,
sfieramercede
dovevasperar?
CONTE
Quellira,
Susanna,ecc.
SUSANNA
Cossicondanna,ecc.
Signora!

CONTE
Rosina!
CONTESSA
Crudele!
Piquellanonsono!
Mailmiserooggetto
delvostroabbandono
cheavetediletto
difardisperar.
Crudele,crudele!
Soffrirsigrantorto
questalmanonsa.
CONTE
Confuso,pentito,
sontroppopunito;
abbiatepiet.
SUSANNA
Confuso,pentito,
troppopunito;
abbiatepiet.
CONTE
Mailpaggio
rinchiuso?
CONTESSA
Fusolperprovarvi.
CONTE
Mailtremiti,ipalpiti?
COTESSA
Fusolperburlarvi.
CONTE
Eunfogliosbarbaro?
SUSANNA,
CONTESSA
DiFigaroilfoglio,
eavoiperBasilio...
CONTE
Ah,perfidi...
iovoglio...
SUSANNA,
CONTESSA
Perdonononmerta
chiaglialtrinond.
CONTE
Ebben,sevipiace,
comunelapace;
Rosinainflessibile
conmenonsar.
CONTESSA
Ahquanto,Susanna,
sondolcedicore!
Didonnealfurore
chipicreder?
SUSANNA
Cogliuomin,signora,
girate,volgete,
vedretecheognora
sicadepoil.
CONTE
Guardatemi!
CONTESSA
Ingrato!
CONTE
Guardatemi!
CONTESSA
Ingrato!
CONTE
Guardatemi,ho
torto,emipento.
SUSANNA,
CONTESSA,CONTE
Daquestomomento

95010MozartCompleteEdition
165

questalmaaconosceria/
mi/vi
apprenderpotr,ecc.
(entraFigaro)

No.8
FIGARO
Signori,difuori
songiisuonatori,
letrombesentite,
ipifferiudite,
tracanti,traballi
devostrivassalli,
corriamo,voliamo
lenozzeacompir.
CONTE
Pianpiano,
menfretta...
FIGARO
Laturbamaspetta.
CONTE
Pianpiano,
menfretta,
undubbiotoglietemi
inpriadipartir.
SUSANNA,
CONTESSA,FIGARO
Lacosascabrosa,
comhadafinir,ecc.
CONTE
Conartelecarte
convienqui
scoprir,ecc.
Conoscete,
signorFigaro,
quesofoglio
chiverg?
(tirafuoriilfoglio)
FIGARO
Nolconosco
SUSANNA
Nolconosci?
FIGARO
No!
CONTESSA
Nolconosci?
FIGARO
No!
CONTE
Nolconosci?
FIGARO
No!
SUSANNA,
CONTESSA,
CONTE
Nolconosci?
FIGARO
No,no,no!
SUSANNA
EnoldestiaDon
Basilio?
CONTESSA
Perrecarlo
CONTE
Tucintendi?
FIGARO
Oib,oib!
SUSANNA
Enonsaidel
damerino...


CONTESSA
Chestaseranel
giardino...
CONTE
Gicapisci?
FIGARO
Iononloso.
CONTE
Cerchiinvandifesa
escusa,
iltuoceffogi
taccusa,
vedobenche
vuoimentir.
FIGARO
Menteilceffo,
ioginon
mento.
SUSANNA,
CONTESSA
Iltalentoaguzzi
invano,
palesatoabbiam
larcano,
nonvnulla
daridir.
CONTE
Cherispondi?
FIGARO
Niente,niente!
CONTE
Dunqueaccordi?
FIGARO
Nonaccordo!
SUSANNA,
CONTESSA
Ehviachetati,
balordo,
laburlettaha
dafinir.
FIGARO
Perfinirlalietamente,
eallusanzateatrale,
unazion
matrimoniale
lefaremooraseguir.
SUSANNA,
CONTESSA,FIGARO
Dehsignor,
nolcontrastate,
consolateimiei/
lordesir.
CONTE
Marcellina!
Marcellina!
Quantotardia
comparir!ecc.
(entrafrettolosamente
Antonio,conun
vasodigarofani
schiacciato)

No.9
ANTONIO
Ah!Signor,signor!
CONTE
Cosastato?
ANTONIO
Cheinsolenza!Chil
fece?Chifu?

SUSANNA,CONTESSA,CONTE,FIGARO
Cosadici,coshai,
cosanato?
ANTONIO
Ascoltate!
SUSANNA,CONTESSA,CONTE,FIGARO
Viaparla,disu!
ANTONIO
Ascoltate!
Dalbalconeche
guardaingiardino
millecoseogni
digittarveggio,
epocanzi,pu
darsidipeggio,
vidiunuom,
signormio,gittargi
CONTE
Dalbalcone?
ANTONIO
(additandogliifiori)
Vedeteigarofani,
CONTE
Ingiardino?
ANTONIO
Si!
SUSANNA,
CONTESSA
(sottovoce)
Figaro,allerta!
CONTE
Cosasento?
SUSANNA,
CONTESSA,
FIGARO
Costuicisconcerta,
quelbriaconeche
vieneafarqui?
CONTE(adAntonio)
Dunqueunuom,ma
dovgito?
ANTONIO
Ratto,ratto,
ilbirbonefuggito,
eaduntratto
divistamusci.
SUSANNA(alFigaro)
Saicheilpaggio...
FIGARO(aSusanna)
Sotutto,lovidi.
(forte,ridendo)
Ahahahah!
CONTE
Tacil!
FIGARO
Ahahahah!
ANTONIO
Cosaridi?
FIGARO
Ahahahah!
Tuseicottodal
sorgerdeld.
CONTE
(adAntonio)
Orripetimi,ripetimi:
unuomdalbalcone?
ANTONIO
Dalbalcone.
CONTE
Ingiardino?

95010MozartCompleteEdition
166

ANTONIO
Ingiardino.
SUSANNA,
CONTESSA,FIGARO
Masignore,seinlui
parlailvino.
CONTE
Seguipure;
ninvoltovedesti?
ANTONIO
No,nolvidi.
SUSANNA,
CONTESSA
Ol,Figaro,ascolta!
CONTE
S?
ANTONIO
Nolvidi.
FIGARO
Viapiangione,sta
zittounavolta!
Pertresoldifartanto
tumulto;
giacchilfattonon
pustareocculto,
sonoiostesso
saltatodil!
CONTE
Chi!Voistesso?
SUSANNA,
CONTESSA
Chetesta!
Cheingegno!
FIGARO
Chestupor!
ANTONIO
Chi!Voistesso?
SUSANNA,
CONTESSA
Chetesta!Cheingegno!
FIGARO
Chestupor!
CONTE
Gicredernolposso.
ANTONIO(aFigaro)
Comemaidiventasti
sgrosso?
Dopoilsaltononfosti
cos.
FIGARO
Achisalta
succedecos.
ANTONIO
Childirebbe?
SUSANNA,
CONTESSA
(aFigaro)
Edinsistequelpazzo?
CONTE(adAntonio)
Tuchedici?
ANTONIO
Ameparve
ilragazzo...
CONTE
Cherubin?
SUSANNA,
CONTESSA
Maledetto!
Maledetto!
FIGARO
Essoappunto,


daSivigliaacavallo
quigiunto,
daSivigliaove
forsesar.
ANTONIO
Questono;
cheilcavallo
iononvidi
saltaredil.
CONTE
Chepazienza!
Finiamquestoballo!
SUSANNA,
CONTESSA
Comemai,giustociel,
finir?
CONTE
Dunquetu?
FIGARO
Saltaigi...
CONTE
Mapersch?
FIGARO
Iltimor...
CONTE
Chetimor...?
FIGARO
Lrinchiuso,
aspettandoquelcaro
visettotippe,tappe
unsussurrofuor
dusovoigridastelo
scrittobigliettosaltai
gidalterrore
confuso,estravolto
mhounnervo
delpi.
ANTONIO
(mostrando
unacarta)
Vostredunquesaran
questecarte
cheperdeste
CONTE(cogliendole)
Ol,porgileame!
FIGARO
Sonointrappola.
SUSANNA,
CONTESSA
Figaroallerta.
CONTE
(apreilfogliopoilo
chiudetosto)
Diteunpo,questo
fogliocos?
FIGARO
(cavaditascaalcune
carrteefingedi
guardarle)
Tosto,tosto,neho
tanti,aspettate!
ANTONIO
Sarforseilsommario
deidebiti?
FIGARO
No,lalistadegliosti.
CONTE(alFigaro)
Parlate?
(adAntonio)
Etulascialo.

SUSANNA,CONTESSA,FIGARO
(adAntonio)
Lascialo/mi,eparti.
ANTONIO
Partos,masetornoa
trovarti...
SUSANNA,
CONTESSA,CONTE
Lascialo.
FIGARO
Vanne,vanne,non
temodite.
SUSANNA,
CONTESSA,CONTE
Lascialo.
ANTONIO
Partos,ecc.
FIGARO
Vanne,vanne,non
temodite.
SUSANNA,
CONTESSA,CONTE
Lascialo,eparti.
(Antonioparte)
CONTE
(ilfglioinman)
Dunque?
CONTESSA
(pianoaSusanna)
Ociel!Lapatentedel
paggio!
SUSANNA
(pianoaFigaro)
Giustidei!Lapatente!
CONTE
Coraggio!
FIGARO
Ahchetesta!
Questlapatente
chepocanziil
fanciullomidi.
CONTE
Perschfare?
FIGARO
Vimanca...
CONTE
Vimanca?
CONTESSA
(pianoaSusanna)
Ilsuggello!
SUSANNA
(pianoaFigaro)
Ilsuggello!
CONTE
Rispondi!
FIGARO
(fingendo
desitareancora)
lusanza...
CONTE
Suvia,ti
confondi?
FIGARO
lusanzadi
porviilsuggello.
CONTE
Questobirbomi
toglieilcervello,
tuttounmistero
perme,s,ecc.

95010MozartCompleteEdition
167

SUSANNA,CONTESSA
Semisalvodaquesta
tempesta,
pinonavvinaufragio
perme,no,ecc.
FIGARO
Sbuffainvanoela
terracalpesta!
Poverinonesamen
dime,ecc.
(entranoinfretta
Marcellina,Bartoloe
Basilio)

No.10
MARCELLINA,BASILIO,BARTOLO
Voisignor,
chegiustosiete,
cidoveteorascoltar.
SUSANNA,
CONTESSA,FIGARO
Sonvenutia
sconcertarmi
qualrimedioa
ritrovar?
CONTE
Sonvenutia
vendicarmi,
iomisentoaconsolar.
FIGARO
Sontrestolidi,
trepazzi,
cosamaivengono
dafar?
CONTE
Pianpianinsenza
schiamazzi,
dicaognunquel
cheglipar.
MARCELLINA
Unimpegnonuziale
hacostuiconme
contratto,
epretendochil
contratto
devamecoeffettuar.
SUSANNA,
CONTESSA,FIGARO
Come?Come?
CONTE
Ol!Silenzio!
Iosonquiper
giudicar.
BARTOLO
Iodaleiscelto
avvocato
vengoafarle
suedifese,
lelegittimepretese
iovivengoapalesar.
SUSANNA,CONTESSA,FIGARO
unbirbante!
CONTE
Ol!Silenzio!ecc.
BASILIO
Iocomuomoal
mondocognito,
vengoquiper
testimonio
delpromesso
matrimonio


conprestanzadi
danar.
SUSANNA,CONTESSA,FIGARO
Sontrematti,ecc.
CONTE
Ol!Silenzio!Lo
vedremo,
ilcontratto
leggeremo,
tuttoinordindeve
andar.
SUSANNA,
CONTESSA,FIGARO
Sonconfusa(o),
sonstordita(o)
disperata(o),
balordita(o)!
Certoundiavol
dellinferno
quili/cihafatti
capitar!
MARCELLINA,BASILIO,BARTOLO,CONTE
Chebelcolpo!
Chebelcaso!
cresciutoa
tuttiilnaso;
qualchenume
anoipropizio,
quici/lihafatti
capitar!

Atto3
Unsalottodelcastello(tuttoapparecchiato
percelebrarelenozze.IlContesoloe
passeggia)
No.11.Recitativo
CONTE
Cheimbarazzomai
questo!Unfoglio
anonimolacameriera
ingabinettochiusa
lapadronaconfusaun
uomchesaltadal
balconeingiardino,
unaltroappresso,
chediceesser
queldesso
Nonsocosapensar,
potrebbeforse
qualcundemieivassallli
asimilrazza
comunelrdir,mala
Contessaahcheun
dubbioloffende!
Ellarispettatroppos
stessa,elonormio
lonoredovediamin
lhapostoumano
errore!(LaContessae
Susannaapparisconoin
fondoallascena)
CONTESSA
Via!Fatticore,digli
chetiattendain
giardino.
CONTE
SaprseCherubino
eragiuntoaSiviglia,a
taleoggettoho
mandatoBasilio.
SUSANNA

Ocielo!EFigaro?
CONTESSA
Aluinondeidir
nulla,invecetua
voglio
andarciiomedesma.
CONTE
Avantiseradovrebbe
ritornar.
SUSANNA
OhDio!Nonoso.
CONTESSA
Pensachintua
manoilmioriposo.
(parte)
CONTE
ESusanna?Chisa,
chellatraditoabbiail
segretomio...oh,se
haparlato,glifo
sposarlavecchia.
SUSANNA
(Mercellina)
Signor!
CONTE
Cosabramate?
SUSANNA
Miparchesiatein
collera!
CONTE
Voletequalchecosa?
SUSANNA
Signor,lavostrasposa
haisolitivapori,e
vichiedeilfiaschetto
degliodori.
CONTE
Prendete.
SUSANNA
Orvelriporto.
CONTE
Ahno;potete
ritenerlopervoi.
SUSANNA
Perme?Questinon
sonmalidadonne
triviali.
CONTE
Unamantecheperde
ilcarospososul
puntodottenerlo?
SUSANNA
PagandoMarcellina
colladotechevoimi
prometteste...
CONTE
Chiovipromisi!
Quando?
SUSANNA
Credeadaverlo
inteso...
CONTE
S,sevolutoaveste
intendermivoistessa.
SUSANNA
miodovere,
equeldiSua
Eccellenzail
miovolere.

95010MozartCompleteEdition
168

No.12.Duetto
CONTE
Crudel!Perschfinora
farmilanguircos?
SUSANNA
Signor,ladonna
ognora
tempohadidirdis.
CONTE
Dunqueingiardin
verrai?
SUSANNA
Sepiaceavoi,verr.
CONTE
Enonmimancherai?
SUSANNA
No,nonvimancer.
CONTE
Verrai?
SUSANNA
S.
CONTE
Nonmancherai?
SUSANNA
No,nonvimancher.
CONTE
Misentodalcontento
pienodi
gioiailcor!
SUSANNA
Scusatemisemento,
voichintendeteamor!
CONTE
Cunqueingiardin
verrai?
SUSANNA
Sepiaceavoi,verr.
CONTE
Enonmimancherai?
SUSANNA
No,nonvimancher.
CONTE
Verrai?
SUSANNA
S.
CONTE
Nonmancherai?
SUSANNA
No.
CONTE
No?
SUSANNA
S,sepiaceavoi,
verr.
CONTO
Nonmancherai?
SUSANNA
No!
CONTE
Dunqueverrai?
SUSANNA
S!
CONTE
Nonmancherai?
SUSANNA
S!
CONTE
S?
SUSANNA
No,nonvimancher.
CONTE


Misentodalcontento,
ecc.
SUSANNA
Scusatemisemento,
ecc.
Recitativo
CONTE
Eperschfostimeco
stamattinasiaustera?
SUSANNA
Colpaggiochivi
cera.
CONTE
EdaBasilio,cheper
metiparl?
SUSANNA
Maqualbisogno
abbiamnoi,cheun
Basilio
CONTE
vero,vero,emi
promettipoisetu
manchi,ohcormio
malaContessa
attenderil
fiaschetto.
SUSANNA
Eh,fuunprestesto,
parlatoiononavrei
senzadiquesto.
CONTE
Carissima!
SUSANNA
Viengente.
CONTE(tras)
miasenzaltro.
SUSANNA(tras)
Forbievilabocca,o
signorscaltro.
(entraFigaro)
FIGARO
Ehi,Susanna,ovevai?
SUSANNA
Taci:senzaavvocato
haigivintalacausa.
FIGARO
Cosnato?
(partono)

No.13.RecitativoedAria
CONTE
Haigivintalacausa!
Cosasento!Inqual
lacciocadea?Perfidi.
Iovoglioiovogliodi
talmodopunirvi,a
piacermiolasentenza
sar.Masepagassela
vecchiapretendente?
Pagarla!Inqual
maniera?Epoiv
Antoniocheallincognito
Figaroricusadi
dareunanipotein
matrimonio.
Coltivandolorgoglio
diquestomentecatto
tuttogiovaaunraggiro
ilcolpofatto.
Vedr,mentrio
sospiro,

feliceunservomio!
Eunbenche
invandesio,
eipossederdovr?
Vedrperman
damore
unitaaunvileoggetto
chiinmedest
unaffetto
chepermepoi
nonha?
Vedrmentrio
sospiro,ecc.
Ahno,lasciarti
inpace,
nonvoquesto
contento,
tunonnascesti,
audace,
perdareame
tormento,
eforseancor
perridere;
dimiainfelicit!
Gilasperanzasola
dellevendettemie
questanimaconsola,
egiubilarmifa!

Recitativo
BARBARINA
Andiam,andiam,bel
paggio,incasamia
tutteritroverai
lepibelleraggazze
delcastello,
dituttesaraitucerto
ilpibello.
CHERUBINO
Ah,seilConte
mitrova,
miserome,tusai
chepartitoeimi
credepersiviglia.
BARBARINA
Andiam,andiam,bel
paggio,incasamia
tutteritroverailepi
belleragazzedel
castello,dituttesarai
tucertoilpibello.
CHERUBINO
Ah!SeilContemi
trova!Miserome!Tu
saichepartitoeimi
credeperSiviglia.
BARBARINA
Ohvechemaraviglia!
Esetitrova,non
sarcosanuova.Odi!
Vogliamovestirti
comenoi,tutteinsiem
andrempoia
presentardefioria
Madamina.
Fidati,oCherubin,di
Barbarina.
(partono.Entrala
Contessa)

95010MozartCompleteEdition
169

No.14
CONTESSA
ESusannanonvien!
Sonoansiosadisaper
comeilConteaccolse
laproposta.
Alquantoarditoil
progettomipar,ead
unospososvivacee
geloso!Machemal
c?Cangiandoimiei
vestiticonquelli
diSusanna,eisuoi
coimieiafavordella
notte.Ohcielo!A
qualumilstato
fataleio
sonridottadaun
consortecrudel!Che
dopoavermiconun
mistoinaudito
dinfedelt,digelosia,
disdegniprima
amata,indioffesa,e
alfintraditafammi
orcercardaunamia
servaaita!
Dovesonoibei
momenti
didolcezzaedipiacer,
doveandaroni
giuramenti
diquellabbro
menzogner!
Perschmai,sein
piantieinpene
permetuttosicangio,
lamemoriadi
quelbene
dalmiosennon
trapass?
Dovesonoibei
momenti,ecc.
Ah!Sealmenla
miacostanza
nellanguire
amandoognor
miportasseuna
speranza
dicangiar
lingratocor.
Ah!Sealmenlamia
costanza,ecc
(entranoMarcellina,
Curzio,Figaro,
Bartolo,Susanna)
Recitativo
CURZIO
decisalalite.O
pagarla,osposarla.
Oraammutite.
MARCELLINA
Iorespiro.
FIGARO
Ediomoro.
MARCELLINA
(tras)
Alfinsposaiosar
dunuomchadoro.
FIGARO
Eccellenza!


Mappello...
CONTE
giustalasentenza,o
pagar,o
sposarbravo.Don
Curzio.
CURZIO
BontdiSua
Eccellenza.
BARTOLO
Chesuperbasentenza!
FIGARO
Inchesuperba?
BARTOLO
Siamtuttivendicati.
FIGARO
Iononlasposer.
BARTOLO
Lasposerai
CURZIO
Opagarla,osposarla.
Leithaprestatidue
milapezziduri.
FIGARO
Songentiluomo,e
senzalassensode
miei
nobiliparenti
CONTE
Dovesono?Chisono?
FIGARO
Lasciateancorcercarli:
dopodiecianniio
speroditrovarli.
BARTOLO
Qualchebambin
trovato?
FIGARO
No,perduto,dottor,
anzirubato.
CONTE
Come?
MARCELLINA
Cosa?
BARTOLO
Laprova?
CURZIO
Iltestimonio?
FIGARO
Loro,legemmeei
ricamatipanni,che
nepiteneriannimi
ritrovaronaddosso
imasnadieri,sono
glindiziveridimia
nascitaillustre,e
soprattuttoquestoal
miobraccioimpresso
geroglifico.
MARCELLINA
Unaspatolaimpressa
albracciodestro?
FIGARO
Eacoichildisse?
MARCELLINA
OhDio!desso!
FIGARO
ver,sonio.
CURZIO
Chi?

CONTE
Chi?
BARTOLO
Chi?
MARCELLINA
Raffaello!
BARTOLO
Eiladritirapir?
FIGARO
Pressouncastello.
BARTOLO
Eccotuamadre!
FIGARO
Balia...
BARTOLO
No,tuamadre.
CURZIO,CONTE
Suamadre?
FIGARO
Cosasento!
MARCELLINA
Eccotuopadre!

No.15.Sestetto
MARCELLINA
(abbracciandoFigaro)
Riconosciin
questamplesso
unamadre,
amatofiglio!
FIGARO(aBartolo)
Padremio,fate
lostesso,
nonmifatepi
arrossir.
BARTOLO
(abbracciando
Figaro)
Resistenza,
lacoscienza
farnonlascia
altuodesir.
(Figaroabbraccia
igenitori)
CURZIO
Eisuopadre?
Ellasuamadre?
Limeneononpu
seguir.
CONTE
Sonsmarrito,
sonstordito,
meglioassai
diquapartir.
MARCELLINA,
BARTOLO
Figlioamato!
FIGARO
Parentiamati!
(entraSusanna)
SUSANNA
Alto!Alto!
SignorConte,
milledoppieson
quipronte,
apagarvengo
perFigaro,
edaporloinlibert.
MARCELLINA,
BARTOLO
Figlioamato!

95010MozartCompleteEdition
170

CURZIO,CONTE
Nonsappiam
comlacosa,
osservateun
pocol.
FIGARO
Parentiamati!
SUSANNA
(vedeFigaroche
abbracciaMarcellina)
Giadaccordo
collasposa,
giustiDei,che
infedelt.
(vuolpartirema
Figarolatrattiene)
Lascia,iniquo!
FIGARO
No,tarresta!
Senti,ohcara,senti!
SUSANNA
(dandogliuno
schiaffo)
Sentiquesta!
MARCELLINA,
BARTOLO,FIGARO
Euneffettodi
buoncore
tuttoamore
quelchefa,ecc.
CONTE,CURZIO
Freme/o,esmania/
odalfurore,
ildestinomela/
glielafa,ecc.
SUSANNA(aparte)
Fremo,smanio
dalfurore,
unavecchiame
lafa,ecc.
MARCELLINA
(aSusanna)
Losdegnocalmate,
miacarafigliuola,
suamadreabbracciate
cheorvostra
sar,ecc.
SUSANNA(aBarolo)
Suamadre?
BARTOLO
Suamadre!
SUSANNA(aConte)
Suamadre?
CURZIO
Suamadre!
SUSANNA
(aMarcellina)
Suamadre?
MARCELLINA
Suamadre!
MARCELLINA,
CURZIO,CONTE,
BARTOLO
Suamadre!
SUSANNA(aFigaro)
Tuamadre?
FIGARO
Equellomiopadre
cheatelodir.


SUSANNA
(aBartolo)
Suopadre?
BARTOLO
Suopadre!
SUSANNA(aConte)
Suopadre?
CONTE
Suopadre!
SUSANNA(aCurzio)
Suopadre?
CURZIO
Suopadre!
SUSANNA
(aMarcellina)
Suopadre?
MARCELLINA
Suopadre!
MARCELLINA,
CURZIO,CONTE,
BARTOLO
Suopadre!
SUSANNA(aFigaro)
Tuopadre?
FIGARO
Equellamia
madre,
cheatelodira,ecc.
CURZIO,CONTE
Alfierotormento
diquestomomento
questanimaappena
resisterorsa.
SUSANNA,
MARCELLINA,
BARTOLO,FIGARO
Aldolcecontento
diquestomomento
questanimaappena
resisterorsa.
(partonoilConte
eCurzio)
Recitativo
MARCELLINA
Eccovi,ohcaro
amico,ildolcefrutto
dellanticoamor
nostro.
BARTOLO
Ornonparliamodi
fattisrimoti,egli
miofiglio,mia
consortevoisiete,ele
nozzefaremquando
volete.
MARCELLINA
Oggi,edoppie
saranno;
(aFigaro)
prendi,questoeil
bigliettodeldenarche
amedevi,ed
tuadote.
SUSANNA
Prendiancorquesta
borsa.
BARTOLO
Equestaancora.
FIGARO
Bravi,gittatepur,
chiopiglioognora.

SUSANNA
Voliamoadinformar
dogniavventura
Madamaenostrozio.
Chialpardime
contenta!
FIGARO
Io!
BARTOLO
Io!
MARCELLINA
Io!
SUSANNA,
MARCELLINA,
BARTOLO,FIGARO
Eschiattiilsignor
Contealgustomio.
(partonotutti.Entrano
Barbarinae
Cherubino)

CD159
Atto3continuo
No.1
Recitativo
ANTONIO
Iovidicosignor,che
Cherubinoancora
nelcastello,evedete
perprovailsuocappello.
CONTE
Macomeseaquestora
essergiutoa
Sivigliaeglidovria?
ANTONIO
Scusate,oggiSiviglia
acasamia.L
vestissidadonnael
lasciatihaglaltri
abitisuoi.
CONTE
Perfidi!
ANTONIO
Andiam,eli
vedretevoi.
(partono.Rientrala
Contessacon
Susanna)
CONTESSA
Cosaminarri?Eche
nedisseilConte?
SUSANNA
Glisileggevainfronte
ildispettoelarabbia.
CONTESSA
Piano,chemeglioor
loporremoin
gabbia!Dov
lappuntamento,
chetugli
proponesti?
SUSANNA
Ingiardino.
CONTESSA
Fissiamogliunloco.
Scrivi.
SUSANNA
Chioscriva,...
ma,signora...

95010MozartCompleteEdition
171

CONTESSA
Ehscrivi,dico,e
tuttoioprendosume
stessa.
(dettando)
Conzonettasullaria..
Duettino
SUSANNA
(Scrivendo)

No.2.Sullaria.
CONTESSA
Chesoavezeffiretto
SUSANNA
Zeffiretto
CONTESSA
questaseraspirer
SUSANNA
questaseraspirer
CONTESSA
sottoipinidel
boschetto
SUSANNA
sottoipini?
CONTESSA
sottoipinidel
boschetto
SUSANNA
sottoipinidel
boschetto
CONTESSA
eigiilresto
capir.
SUSANNA
certo,ceroil
capir.
CONTESSA
eigiilresto
capir.
CONTESSA
Canzonettasullaria,
ecc.
SUSANNA
Chesoave
zeffiretto,ecc.
Recitativo
SUSANNA
Piegatoilfoglio;or
comesisigilla?
CONTESSA
Ecco...prendiuna
spilla,servirdi
sigillo;attendi,scrivi
sulriversodelfoglio:
rimandateilsigillo
SUSANNA
pibizzarrodiquel
dellapatente.
CONTESSA
Prestonascondi:io
sentovenirgente.
(Susannasimetteil
bigliettoinseno.
EntraBarbarinacon
altrecontadinellee
Cherubinovestitoda
contadinellacon
mazzettidifiori)


No.3.Coro
CONTADINELLE
Ricevete,opadroncina
questerosee
questifior,
cheabbiamcolte
stamattina,
permostrarviil
nostroamor.
Siamotante
contadine,
esiamtuttepoverine,
maquelpocoche
rechiamo
velodiamodi
buoncor.
Recitativo
BARBARINA
Questesono.Madama,
leragazzedelloco
cheilpocochhanvi
vengonoadoffrire,e
vichiedonperdondel
loroardire.
CONTESSA
Ohbrave!
Viringrazio.
SUSANNA
Comesonovezzose.
CONTESSA
Echi,narratemi,
quellamabil
fanciulla
chhalarias
modesta?
(additaCherubino)
BARBARINA
Ellunamiacuginae
perlenozze
venutaiersera.
CONTESSA
Onoriamolabella
forestiera;venitequi,
datemiivostrifiori.
Comearross!
Susanna,enonti
parechesomigliad
alcuno?
SUSANNA
Alnaturale...
(Antonioentraconil
Conteesiavvicina
alpaggio;glicavala
cuffiadadonnaegli
metteintestailcappello
dasoldato)
ANTONIO
Ehcospettaccio!
questiluffiziale.
CONTESSA
Ohstelle!
SUSANNA
Malandrino.
CONTE
Ebben,Madama!
CONTESSA
Iosono,signormio,
irritataesorpresaal
pardivoi.
CONTE
Mastamane?

CONTESSA
Stamane...perlodierna
festavolevam
travestirloalmodo
stessochelhanvestito
adesso.
CONTE
Eperschnon
partiste?
CHERUBINO
Signor...
CONTE
Saprpunirelasua
disubbidienza
BARBARINA
Eccellenza!
Eccellenza!Voimidites
spessoqualvolta
mabbracciate,emi
baciate:Barbarina,se
mami.,tidarquel
chebrami...
CONTE
Iodissiquesto?
BARBARINA
Voi!Ordatemi,
padrone,insposo
Cherubino,evamer,
comamoilmio
gattino.
CONTESSA
Ebbene,ortoccaavoi.
ANTONIO
Bravafigliuola!Hai
buonmaestro,cheti
falascuola.
CONTE(tras)
Nonsoqualuom,
qualdemone,qualdio
rivolgatuttoquantoa
tortomio
(entraFigaro)
FIGARO
Signor,setrattenete
tuttequesteragazze,
addiofeste,addio
danza.
CONTE
Eche?Vorrestiballar
colpistravolto?
FIGARO
Ehnonmiduolpiu
molto.Andiambelle
fanciulle.
CONTESSA
Comesicaverdallimbarazzo?
SUSANNA
(allaContessa)
Lasciatefarealui.
CONTE
Perbuonasorteivasi
erandicreta.
FIGARO
Senzafallo.Andiamo
dunque,andiamo.
ANTONIO
Eintantoacavallodi
galoppoaSiviglia
andavailpaggio.
FIGARO
Digaloppo,odi

95010MozartCompleteEdition
172

passo,buonviaggio!
Veniteobellegiovani.
CONTE
Eatelasuapatente
eraintascarimasta.
FIGARO
Certamente.
(Cherazzadi
domande!)
ANTONIO
(aSusannachefadei
motiaFigaro)
Via,nonglifarpi
mot,einontintende.
(prendeCherubino
permanoelo
presentaaFigaro)
Edeccochipretende
chesiaunbugiardo
ilmiosignornipote.
FIGARO
Cherubino!
ANTONIO
Orcisei.
FIGARO(alConte)
chediamincanta?
CONTE
Noncanta,no,ma
dice,cheglisalt
stamaneinsui
garofani.
FIGARO
Eilodice!Sar...se
hosaltatoio,sipi
darechanchesso
abbiafattolostesso.
CONTE
Anchesso?
FIGARO
Perchno?Ionon
impugnomaiquel
chenonso.

No.4.Finale
(sisenteunamarcia
inlontano)
FIGARO
Eccolamarcia,andiamo!
Aivostriposti,
ohbelle,aivostri
posti!Susanna
dammiilbraccio!
SUSANNA
(Figaroprende
Susannapelbraccio)
Eccolo.
(partonotuttieccettuati
ilConteela
Contessa)
CONTE
Temerari!
CONTESSA
Iosondighiaccio!
CONTE
Contessa!
CONTESSA
Ornonparliamo.
Eccoquileduenozze,
riceverledobbiam,
alfinsitrattaduna
vostraprotetta.Seggiamo.


CONTE
Seggiamo.(Emeditiam
vendetta!)
(Siedono.Entrano
cacciatoriconfusiliin
ispalla,gentedelforo,
contadinie
contadine,duegiovinette
cheportanoil
cappelloverginalecon
piumebianche,due
altreconunbianco
velo,duealtrecon
iguantieilmazzetto
difiori.Poivengone
FigaroconMarcellina
eBartolocon
Susanna.Duegiovinette
incomicianoil
corocheterminain
ripieno.Bartolo
conduceSusannaal
Conteedella
singinocchiaperricevere
daluiilcappello
ecc.Figaroconduce
Marcellinaalla
Contessaefalastessa
funzione)
DUERAGAZZE
Amanticostanti,
seguacidonor,
cantate,lodate
ssaggiosignor.
Aundrittocedendo
cheoltraggia,che
offende;
eicastevirende
aivostriamator.
CORO
Cantiamo,lodiamos
saggiosignor!
(Susannaessendoin
ginocchioduranteil
corotirailConteper
labito,glimostrail
biglietto,dopopassa
lamanodallato
deglispettatorialla
testa,doveparecheil
Conteleaggiustiil
cappello,eglidil
biglietto.IlConteselo
mettefurtivamente
inseno.Susanna
salza,glifauna
riverenza.
Figarovieneariceverla.
Siballailfandango.
Marcellinasalzaun
popitardi.Bartolo
vieneariceverladalle
manidellaContessa)
CONTE
(cavailbigliettoefa
lattodunuomche
rimasepuntoaldito:
loscuote,lopreme,
losucchiaevedendoil
bigliettosigillato
collaspilladice,gittando

laspillaaterra)
Eh,gisolitausanza,
ledonneficcangli
aghiinogniloco...
ah,capiscoilgioco!
FIGARO(aSusanna)
Unbigliettoamoroso
cheglidinelpassar
qualchegalante,ed
erasigillatoduna
spilla,ondeglisi
punseildito,il
Narciso
orlacerca,ohche
stordito!
CONTE
Andateamici!
Esiaperquesta
seradisposto
lapparatonuziale,
collapiriccapompa,
iovochesiamagnifica
lafesta,ecanti,e
fochi,egrancena,e
granballo;eognuno
imparicomiotratto
colorcheame
soncari.
CORO
Amanticostanti,ecc.

Atto4
Ilgiardinodelcastello(Cunpadiglionea
destraedunoasinistra.Notte.Entra
Barbarina,checercainterraqualcosa)
No.5.Cavatina
BARBARINA
Lhoperduta,me
meschina!
Ahchisadovesar?
Nonlatrovo.
Lhoperduta!
Meschinella!ecc.
Emiacugina?
Eilpadron,
cosadir?
(entranoFigaroe
Marcellina)
Recitativo
FIGARO
Barbarina,coshai?
BARBARINA
Lhoperduta,cugino.
FIGARO
Cosa?
MARCELLINA
Cosa?
BARBARINA
Laspilla,cheame
diedeilpadroneper
recaraSusanna.
FIGARO
ASusanna,la
spilla?
Ecos,tenerella,il
mestieregisai
difartuttosben
quelchetufai?
BARBARINA
Cos?Vaimecoin
collera?

95010MozartCompleteEdition
173

FIGARO
Enonvedichio
scherzo?Osserva:
(prendeunaspilla
dallacuffiadi
Marcellina)
questalaspilla
cheilConteda
recareti
diedeallaSusanna,e
serviadisigilloaun
bigliettino;vedisio
sonoistrutto.
BARBARINA
Eperchilchiediame
quandosaitutto?
FIGARO
Aveagustodudir
comeilpadrone
tidila
commissione.
BARBARINA
Chemiracoli!Tieni,
fanciulla,reca
questaspillaalla
bellaSusanna,edille:
questoilsigillo
depini!
FIGARO
Ah!Ah!Depini.
BARBARINA
vercheimisoggiunse:
guardache
alcunnonveda;
matugiatacerai.
FIGARO
Sicuramente.
BARBARINA
Ateginientepreme.
FIGARO
Ohniente,niente.
BARBARINA
Addio,miobelcugino;
vodaSusanna,e
poidaCherubino.
(parte)
FIGARO
Madre!
MARCELLINA
Figlio!
FIGARO
Sonmorto!
MARCELLINA
Calmati,figliomio!
FIGARO
Sonmorto,dico.
MARCELLINA
Flemma,flemma,e
poiflemma:ilfattoe
serio,epensarciconvien!
Maguardaun
pico,cheancornon
saidichisiprenda
giuoco.
FIGARO
Ahquellaspilla,o
madre,quellastessa
chepocanziei
raccolse.
MARCELLINA
ver,maquestoalpi


tiporgeundritto
distareinguardiae
vivereinsospetto:ma
nonsaiseineffetto.
FIGARO
Allertadunque!Il
locodelcongressoso
dovstabilito.
MARCELLINA
Dovevai,figliomio?
FIGARO
Avendicartutti
mariti.Addio!
(parte)
Prestoavvertiam
Susanna;iolacredo
innocente.Quella
faccia,quellariadi
modestiaecasoancora
chellanon
fosse.Ah!quandoil
cornonciurma
personaleinteresse,
ognidonnaportata
alladifesadelsuo
poverosesso,daquest
uominiingratiatorto
oppresso!

No.6.Aria
MARCELLINA
Ilcaproelacapretta
sonsempreinamist.
Lagnelloallagnelletta
laguerramainonfa!
Lepiferocibelve
perselveeper
campagne
lascianlelor
compagne
inpaceelibert.
Ilcaproela
capretta,ecc.
Solnoi,povere
femmine,
chetantoamiam
questuomini
trattatesiamdai
perfidi
ognorconcrudelt!
(parte.Rientra
Barbarina)
Recitativo
BARBARINA
Nelpadiglionea
manca,eicosdisse:
questo,questo!Epoi
senonvenisse?
Ah,chebravagente!
Ah,sentodarmiun
arancio,unaperae
unaciambella!
Perchmadamigella?
Oh,perqualcun,
signore!Gilosappiam!
Ebbene,il
padronlodiaediogli
vogliobene,per
costommiunbacioe
cosaimporta;forse
qualcunmelrender!

(vedeFigarochesiavvicina)
Sonmorta!
(entranelpadiglioneasinistra)
FIGARO
Barbarina!
Chival?
(entranoBasilioeBartolocon
untruppodicontadinieservi)
BASILIO
Sonquelliche
invitastiavenir.
BARTOLO
Chebruttoceffo!
Sembriuncospirator!
Chediaminsono
quegliinfausti
apparati?
FIGARO
Lovedretefrapoco.In
questostessoloco
celebreremlafesta
dellamiasposaonesta
edelfeudalsignor.
BASILIO
Ahbuono,buono,
capiscocomeegli.
Accordatisisonsenza
dime.
FIGARO
(altruppodi
contadinieservi)
Voidaquesticontorni
nonviscostate,
intantoiovadoadar
certiordinietorno
inpichiistanti,aun
fischiomiocorrete
tuttiquanti.
(Figaroesceconi
contadinieiservi)
BASILIO
Haidiavolinelcorpo!
BARTOLO
Macosadunque?
BASILIO
Nulla:Susannapiace
alConte;ella
daccordoglidiun
appuntamentochea
Figarononpiace.
BARTOLO
Eche,dunquedovria
soffrirloinpace?
BASILIO
Quelchesoffrono
tanti,eisoffrirnol
potrebbe?Epoisentite,
cheguadagno
pufar?Nelmondo,
amico,laccozzarla
cograndifupericolo
ognora:dannovanta
percentoehanvinto
ancora!

No.7.Aria
BASILIO
Inqueglianni
incuivalpoco
lamalpraticaragion,
ebbianchiolo

95010MozartCompleteEdition
174

stessofoco,
fuiquelpazzo
chornonson.
Ecoltempoe
coiperigli
DonnaFlemmacapit
eicapriccied
ipuntigli
dallatestamicav
Pressounpicciolo
abituro
secoleimitrasse
ungiorno
etogliendogi
dalmuro
delpacificosoggiorno
unapelledisomaro.
Prendi,disse,
ohfigliocaro!
Poidisparvee
milasci.
Mentreancortacito
guardoqueldono,
ilcielsannuvola,
rimbombailtuono,
mistaallagrandine
scroscialapiova,
eccolemembra
coprirmigiova
colmantodasino
chemidon!
Finisceilturbine,
nfoduepassi
chefieraorribile
dianziamefassi;
gi,gimitocca
lingordabocca,
gididifendermi
spemenonho.
Mailfiutoignobile
delmiovestito
tolseallabelva
slappetito
chedisprezzandomi
sirinselv.
Cosconoscere
miflasorte
chonte,pericoli,
vergognaemorte
colcuoiodasino
fuggirsipu!
(partono.Rientra
Figarosolo)

No.8.RecitativoedAria
FIGARO
Tuttodisposto:lora
dovrebbeesser
vicina;iosento
gente...dessa!
Non
alcun;buia
lanotte...ed
iocomincio
omaiafareilscimunito
mestieredimarito
Ingrata!Nelmomento
dellamiacerimonia
eigodevaleggendo:e
nelvederloiorideva
dimesenzasaperlo.


OhSusanna!
Susanna!Quantapena
micosti!Conquellingenua
faccia,
conquegliocchi
innocenti,chi
credutolavria?Ah!
Cheilfidarsiadonna,
ognorfollia
Apriteunpoquegli
occhi,
uominiincautie
sciocchi,
guardatequeste
femmine,
guardatecosason!
Questechiamatedee
dagliingannatisensi,
acuitributaincensi
ladeboleragion,ecc.
sonstregheche
incantano
perfarcipenar,
sirenechecantano
perfarciaffogar,
civettecheallettano
pertrarcilepiume,
cometechebrillano
pertoglierciillume.
Sonrosespinose
sonvolpivezzose;
sonorsebenigne,
colombemaligne,
maestredinganni,
amichedaffanni,
chefingono,
mentono.
amorenonsenton,
nonsentonpiet,
No,no,no,no,no!
Ilrestonoldico,
giognunolosa.
Apriteunpoquegli
occhi,ecc.
(sinascondefragli
alberi.Susannaela
Contessaappaiono,
essendosiscambiatii
vestiti.Dopo,
Marcellina)
Recitativo
SUSANNA
Signora,ellamidisse
cheFigaroverravi.
MARCELLINA
Anzivenuto.Abbassa
unpolavoce.
SUSANNA
Dunqueunciascolta,
elaltrodeevenira
cercarmi.
Incominciam.
MARCELLINA
Iovoglioquicelarmi.
(entranelpadiglione
asinistra)
SUSANNA
Madama,voitremate.
Avrestefreddo?
CONTESSA
Parmiumidalanotte;

iomiritiro.
FIGARO
Eccocidellacrisial
grandeistante.
SUSANNA
Iosottoquestepini,
seMadamail
permette,restoa
prendereilfrescouna
mezzora.
FIGARO
Ilfresco,ilfresco!
CONTESSA
Restaciinbuonora
(siallontana)
SUSANNA
Ilbirboinsentinella.
Divertiamcianche
noi,diamoglilamerc
dedubbisuoi.

No.9.RecitativoedAria
SUSANNA
Giunsealfinil
momento,che
godrsenza
affannoinbraccio
allidolmio!Timide
cure!Uscitedalmio
petto,aturbarnon
veniteilmiodiletto!
Ohcomeparche
allamorosofoco
lamenitdelloco,la
terraeilcielrisponda,
comelanottei
furtimieiseconda!
Dehvieninontardar,
ogioiabella,
vienioveamoreper
godertappella,
finchnonsplende
incielnotturnaface;
finchlariaancor
bruna,eilmondo
tace.
Quimormorailruscel,
quischerzalaura,
checoldolcesussurro
ilcorrestaura,
quiridonoifiorettie
lerbafresca,
aipiaceridamor
quituttoadesca.
Vieni,benmio,tra
questepianteascose.
Vieni,vieni!Tivola
fronteincoronar
dirose!
(sinascondedietro
glialberidallato
oppostoaquello
diFigaro)
Recitativo
FIGARO
Perfida!Einquella
formamecomentia?
Nonsosioveglio,o
dormo.
CHERUBINO
(entrando)

95010MozartCompleteEdition
175

Lalalalalalalalera!
CONTESSA
Ilpicciolpaggio.
CHERUBINO
Iosentogente,
entriamooveentr
Barbarina.Oh,vedo
quiunadonna.
CONTESSA
Ahi,mmeschina!
CHERUBINO
Minganno!Aquel
cappelloche
nellombraveggio
parmiSusanna.
CONTESSA
EseilConteoravien,
sortetiranna!

No.10.Finale
CHERUBINO
Pianpianin,leandr
pipresso,
tempipersononsar.
CONTESSA
Ah,seilContearriva
adesso
qualcheimbroglio
accader!
CHERUBINO
Susanetta!Non
risponde,
collamanoilvolto
asconde,
orlaburloinverit.
CONTESSA
(cercandodi
andarsene)
Arditello,sfacciatello,
iteprestoviadiqua,
ecc.
CHERUBINO
Smorfiosa,maliziosa,
iogisoperchsei
qua,ecc.
CONTE(dalontano)
Eccoquilamia
Susanna!
SUSANNA,FIGARO
Eccoquiluccellatore!
CHERUBINO
Nonfarmecolatiranna!
SUSANNA,
CONTE,FIGARO
Ah!Nelsenmi
batteilcore!
CONTESSA
Viapartite,ochiamo
gente!
SUSANNA,
CONTE,FIGARO
Unaltruomconleisi
sta;
CHERUBINO
Dammiunbacio,o
nonfainiente;
SUSANNA,CONTE,FIGARO
Allavoce,quegliil
paggio.
CONTESSA
Ancheunbacio!Che


coraggio!
CHERUBINO
Eperchfario
nonposso
quelcheilConte
ognorfar?
SUSANNA,CONTESSA,CONTE,FIGARO
Temerario!
CHERUBINO
Ohvechesmorfie!
Saichiofuidietroil
sof.
SUSANNA,
CONTESSA,CONTE,FIGARO
Seilribaldoancorsta
saldo,
lafaccendaguaster.
CHERUBINO
(levuoldare
unbacio)
Prendiintanto!
(ilContescivolato
fraluielaContessa,
ericeveluiilbacio)
CONTESSA,poi
CHERUBINO
Ocielo!IlConte!
(Cherubinofuggeesi
nascondenel
padiglioneasinistra)
FIGARO
Vovedercosafanl.
(ilConteduno
schiaffochericeve
Figaroinvece)
CONTE
Perchvoi
nonripetete
ricevetequestoqua!
FIGARO,CONTESSA,CONTE,SUSANNA
Ah!Ciho/hafattoun
belguadagno
collamiacuriosit/
suatemerit,ecc.
(siallontananoFigaro
eSusanna)
CONTE
Partitoalfin
laudace,
accostati,benmio!
CONTESSA
Giacchcosvipiace,,
eccomiqui,signor.
FIGARO
Checompiacente
femmina!
Chesposadi
buoncor!
CONTE
Porgimilamanina!
CONTESSA
Iovelado.
CONTE
Carina!
FIGARO
Carina?
CONTE
Cheditatenerelle!
Chedelicatapelle!
Mipizzica,mi
stuzzica,

mempiedunnuovo
ardor!ecc.
SUSANNA,
CONTESSA,FIGARO
Laciecaprevenzione
deludelaragione
ingannaisensi
ognor,ecc.
CONTE
Oltreladote,ohcara!
riceviancoun
brillante
cheateporgeun
amante
inpegnodelsuo
amor.
(ledunanello)
CONTESSA
TuttoSusannapiglia
dalsuobenefattor.
SUSANNA,
CONTE,FIGARO
Vatuttoamaraviglia,
mailmegliomanca
ancor.
CONTESSA
Signor,daccese
fiaccole
ioveggioilbalenar.
CONTE
Entriam,miabella
Venere,
andiamociacelar,ecc.
SUSANNA,FIGARO
Maritiscimuniti,
veniteadimparar.
CONTESSA
Albuio,signormio?
CONTE
quellochevoglio:
tusaichel
perleggere,
ionondesio
dentrar.
FIGARO
Laprefidaloseguita,
vanoildubitar.
SUSANNA,
CONTESSA
Ifurbisonoin
trappola,
cominciabenlaffar.
CONTE
Chipassa?
FIGARO
Passagente!
CONTESSA
Figaro!Menvo!
CONTE
Andate,andate!
Iopoiverr.
(sinascondedietrogli
alberi.Lacontessa
entranelpadiglionea
destra)
FIGARO
Tuttotranquiloe
placido,
entrlabellaVenere:
colvagoMarte
prendere,

95010MozartCompleteEdition
176

nuovoVulcan
delsecolo,
inretelapotr.
SUSANNA
(imitandolavoce
dellaContessa)
Ehi,Figaro!Tacete!
FIGARO
Oh,questa
laContessa.
Atempoquigiungete,
vedretelvoistessa
ilConteelamia
sposa.
Dipropriaman
lacosa
toccariovifar.
SUSANNA
(dimenticandodi
cangiarelavoce)
Parlateunpo
pibasso:
diquanonmuovo
ilpasso,
mavendicarmivo.
FIGARO
(Susanna!)
Vendicarsi?
SUSANNA
S.
FIGARO
Comepotriafarsi?
Lavolpevuol
sorprendermi,
esecondarlavo,ecc.
SUSANNA
Liniquoiovo
sorprendere,
poisoquel
chefar,ecc.
FIGARO
(confintapremura)
Ah,seMadamail
vuole!
SUSANNA
Suvia,mancoparole!
FIGARO
Ah,Madama!
SUSANNA
Suvia,manco
parole!
FIGARO
Eccomiavostripiedi,
hopienoilcordi
foco.
Esaminateilloco,
pensatealtraditor!
SUSANNA
Comelamanmi
pizzica!
FIGARO
Comeilpolmonmi
sialtera!
SUSANNA
Chesmania!
Chefuror!ecc.
FIGARO
Chesmania!Che
calor!ecc.
SUSANNA
Esenzalcunaffetto?


FIGARO
Suppliscaviil
rispetto.
Nonperdiamtempo
invano:
datemiun
polamano...
SUSANNA
(dandogliunoschiaffo)
Servitevi,signor.
FIGARO
Cheschiaffo!
SUSANNA
Cheschiaffo!
Equesto,eancora
questo,equesto,epoi
questaltro.
FIGARO
Nonbattercos
presto!
SUSANNA
Equesto,signor
scaltro,
equesto,epoi
questaltroancor.
FIGARO
Ohschiaffi
graziosissimi
Oh,miofeliceamor!
ecc.
SUSANNA
Impara,impara,o
perfido,
afareilseduttor,ecc.
FIGARO
Pace,pace,mio
dolcetesoro:
ioconobbilavoce
headoro,
echeimpressaognor
serbonelcor.
SUSANNA
Lamiavoce?
FIGARO
Lavocecheadoro.
SUSANNA,FIGARO
Pace,pace,mio
dolcetesoro!
pace,pace,mio
teneroamor.
(rientrailConte)
CONTE
Nonlatrovo,egirai
tuttoilbosco.
SUSANNA,FIGARO
QuestiilConte,
allavoceilconosco.
CONTE
Ehi,Susanna!Sei
sorda,seimuta?
SUSANNA
Bella,bella!Nonlha
conosciuta!
FIGARO
Chi?
SUSANNA
Madama.
FIGARO
Madama?
SUSANNA
Madama!

SUSANNA,FIGARO
Lacommedia,idol
mio,terminiamo,
consoliamoilbizzarro
amator,ecc.
(Figarosinginocchia
aipiedidiSusanna)
FIGARO
S,Madama,voisiete
ilbenmio.
CONTE
Lamiasposa?
Ah,senzarmesonio!
FIGARO
Unristoroalmiocor
concedete?
SUSANNA
Iosonqui,faccioquel
chevolete.
CONTE
Ah,ribaldi,ribaldi!
SUSANNA,FIGARO
Ah,corriamo,
corriamomiobene
elepenecompensi
ilpiacer.
(vannoalpadiglionea
sinistra.Figaro
arrestatodalConte)
CONTE
Gente,gente,
allarmi,allarmi!
FIGARO
(confintospavento)
Ilpadrone!

No.11
CONTE
Gente,gente,
aiuto,aiuto!
(entranoAntonio,
Basilio,Bartolo,
Curzioconservi)
FIGARO
Sonperduto!
BASILIO,
CURZIO,ANTONIO,
BARTOLO
Cosavvenne?Cosavvenne?
CONTE
Ilscellerato
mhatradito,mha
infamato,
econchistateaveder.
BASILIO,CURZIO,
ANTONIO,
BARTOLO
Sonstordito,
sbalordito,
nonmiparche
cisiaver!
FIGARO
Sonstorditi,
sbalorditi,
ohchescena,
chepiacer!
(dalpadiglionea
sinistraescono
inrapida
successione
Cherubino,Barbarina,

95010MozartCompleteEdition
177

MarcellinaeSusanna)
CONTE
Invanresistete,
uscite,Madama;
ilpremiooraavrete
divostraonest.
...Ilpaggio!
ANTONIO
Miafiglia!
FIGARO
Miamadre!
BASILIO,
CURZIO,ANTONIO,
BARTOLO
Madama!
CONTE
Scopertalatrama
laperfidaqua!
SUSANNA
(inginocchiandosi)
Perdono,perdono!
CONTE
No,no!Nonsperarlo!
FIGARO
(inginocchiandosi)
Perdono,perdono!
CONTE
No,no,nonvodarlo!
TUTTISALVO
ILCONTE
(inginocchiandosi)
Perdono!ecc.
CONTE
No!
(laContessaescedal
padiglioneadestra)
CONTESSA
Almenoioperloro
perdonootterr.
BASILIO,CURZIO,
CONTE,ANTONIO,
BARTOLO
Ohcielo!Cheveggio!
Deliro!Vaneggio!
Checredernonso.
CONTE
(inginocchiandosi)
Contessaperdono!
Perdono,perdono!
CONTESSA
Pidocileiosono,
edicodis.
TUTTI
Ah!Tutticontenti
saremocos.
Questogiorno
ditormenti,
dicapricciedifollia,
incontentiein
allergria
soloamorpu!o
terminar.
Sposi,amici,
alballo,algioco,
alleminedatefoco!
Edalsuon
dilietamarcia
corriamtuttia
festeggiar,ecc.
FINE


DONGIOVANNI(CD160162)
AttoI
ScenaPrima
1.Overture
GiardinoNotte.
Leporello,conferraiolo,passeggiadavantialla
casadiDonnAnna;indiDonGiovannie
DonnAnnaedinultimoilCommendatore.
(Leporello,entrandodallatodestrocon
lanternainmano,savanzacautoe
circospetto.)

2.LEPORELLO
Notteegiornofaticar,
Perchinullasagradir,a
Piovaeventosopportar,
Mangiarmaleemaldormir.
Vogliofarilgentiluomo
Enonvogliopiservir...
Ohchecarogalantuomo!
Vuolstardentrocollabella,
Ediofarlasentinella!
Vogliofarilgentiluomo
Enonvogliopiservir...
Mamiparchevengagente;
Nonmivogliofarsentir.
(Siritira)
(DonGiovanniescedalpalazzodel
Commendatore
inseguitodaDonnAnna;cercacoprirsiilviso
ed
avvoltoinunlungomantello.)
DONNAANNA
(TrattenendoDonGiovanni)
Nonsperar,senonmuccidi,
Chiotilascifuggirmai!
DONGIOVANNI
(semprecercandodicelarsi)
Donnafolle!indarnogridi,
Chisoniotunonsaprai!
LEPORELLO
(avanzandosi)
Chetumulto!Ohciel,chegridi!
Ilpadroninnuoviguai.
DONNAANNA
Gente!Servi!Altraditore!
DONGIOVANNI
Tacietremaalmiofurore!
DONNAANNA
Scellerato!
DONGIOVANNI
Sconsigliata!
LEPORELLO
Staavedercheilmalandrino
Mifarprecipitar!
DONNAANNA
Comefuriadisperata
Tisaprperseguitar!
DONGIOVANNI
Questafuriadisperata
Mivuolfarprecipitar!
ILCOMMENDATORE
(conspadaelume)
Lasciala,indegno!
(DonnAnna,udendolavocedelpadre,lascia
Don
Giovanniedentraincasa.)
Battitimeco!
DONGIOVANNI
Va,nonmidegno
Dipugnarteco.

ILCOMMENDATORE:
Cospretendidamefuggir?
LEPORELLO
Potessialmenodiquapartir!
DONGIOVANNI
Misero,attendi,
sevuoimorir!
(Sibattono.IlCommendatore
mortalmenteferito)
ILCOMMENDATORE
Ah,soccorso!sontradito!
Lassassinomhaferito,
Edalsenopalpitante
Sentolanimapartir.
DONGIOVANNI
Ah,gicadeilsciagurato,
Affannosoeagonizzante,
Gidalsenopalpitante
Veggolanimapartir.
LEPORELLO
Qualmisfatto!qualeccesso!
Entroilsendallospavento
Palpitarilcormisento!
Iononsochefar,chedir.
(IlCommendatoremuore.)

ScenaSeconda
DONGIOVANNI
(sottovoce)
3.Leporello,ovesei?
LEPORELLO
Sonqui,permiadisgrazia,evoi?
DONGIOVANNI:
Sonqui.
LEPORELLO
Chimorto,voioilvecchio?
DONGIOVANNI
Chedomandadabestia!Ilvecchio.
LEPORELLO
Bravo,dueimpreseleggiadre!
Sforzarlafigliaedammazzarilpadre!
DONGIOVANNI
Lhavoluto,suodanno.
LEPORELLO
MaDonnAnna,cosahavoluto?
DONGIOVANNI
Taci,nonmiseccar,vienmeco,senon
vuoiqualchecosaancortu!
LEPORELLO
Nonvonulla,signor,nonparlopi.
(alzandodaterralalanternaedilmantello.
Partono.)

ScenaTerza
DonOttavio,DonnAnnaeServiconlumi.
DONNAANNA
Ah,delpadreinperiglio
insoccorsovoliam.
DONOTTAVIO
(conferroignudoinmano)
Tuttoilmiosangueverser,sebisogna.
Madovilscellerato?
DONNAANNA
lnquestoloco...
(vedeilcadavere.)

4.maqualmaisoffre,oDei,
spettacolofunestoagliocchimiei!
IIpadre!...padremio!...miocaropadre!...
DONOTTAVIO
Signora!

95010MozartCompleteEdition
178

DONNAANNA
Ah,lassassinomeltrucid.
Quelsanguequellapiagaquelvolto,
tintoecopertodelcolordimorte
einonrespirapi
freddehalemembra
padremio!...caropadre!...
padreamato!...
iomanco...iomoro.
(Sviene.)
DONOTTAVIO
Ah,soccorrete,amici,ilmiotesoro!
Cercatemi,recatemi
qualcheodor,qualchespirto.Ah!nontardate.
(Partonodueservi.)
DonnAnna!sposa!amica!IIduolo
estremolameschinellauccide.
DONNAANNA
Ahi!
DONOTTAVIO
Girinviene...
(ritornanoiservi)
Datelenuoviaiuti.
DONNAANNA
Padremio!
DONOTTAVIO
Celate,allontanateagliocchisuoi
quelloggettodorrore.
(Vieneportatoviailcadavere.)
Animamia,consolati,facore.

DONNAANNA
(disperatamente)
5.Fuggi,crudele,fuggi!
Lasciachemoraanchiio
Orachemorto,ohDio!
Chiamelavitadie!
DONOTTAVIO
Senti,cormio,deh!senti;
Guardamiunsoloistante!
Tiparlailcaroamante,
chevivesolperte.
DONNAANNA
Tusei!...perdon,miobene
Laffannomio,lepene...
Ah!ilpadremiodov?
DONOTTAVIO:
Ilpadre?Lascia,ocara,
larimembranzaamara.
Haisposoepadreinme.
DONNAANNA
Ah!Vendicar,seilpuoi,
Giuraquelsangueognor!
DONOTTAVIO:
Logiuroagliocchituoi,
Logiuroalnostroamor!
Adue
Chegiuramento,odei!
Chebarbaromomento!
Tracentoaffettiecento
Vammiondeggiandoilcor.
(Partono.)

ScenaQuarta
Notte.Strada.
DonGiovannieLeporello,
poiDonnElvirainabitodaviaggio.

DONGIOVANNI:
6.Ors,spicciatipresto.Cosavuoi?


LEPORELLO
Laffardicuisitrattaimportante.
DONGIOVANNI
Locredo.
Leporello
importantissimo.
DONGIOVANNI
Meglioancora.Finiscila.
LEPORELLO
Giuratedinonandarincollera.
DONGIOVANNI
Logiurosulmioonore,
purchnonparlidel
Commendatore.
LEPORELLO
Siamosoli.
DONGIOVANNI
Lovedo.
LEPORELLO
Nessuncisente.
DONGIOVANNI
Via!
LEPORELLO
Vipossodiretuttoliberamente?
DONGIOVANNI
S.
LEPORELLO
Dunquequandocos,
carosignorpadrone,
lavitachemenate(allorecchio,maforte)
dabriccone.
DONGIOVANNI
Temerario,intalguisa...
LEPORELLO
Eilgiuramento?
DONGIOVANNI
Nonsodigiuramenti.Taci,ochiio...
LEPORELLO
Nonparlopi,nonfiato,opadronmio.
DONGIOVANNI
Cossaremoamici.Oradunpoco:
Saituperchsonqui?
LEPORELLO
Nonnesonulla.Maessendolalbachiara,non
sarebbe
qualchenuovaconquista?
Iolodevosaperperporlainlista.
DONGIOVANNI
Val,cheseiilgranduom!
Sappichiiosonoinnamoratoduna
belladama,esoncertochemama.
Lavidi,leparlai;mecoalcasino
questanotteverr...
(VienedalfondoDonnaElvira.)
Zitto,mipare
sentireodordifemmina...
LEPORELLO
(Cospetto,cheodoratoperfetto!)
DONGIOVANNI
Allariamiparbella.
LEPORELLO
(Echeocchio,dico!)
DONGIOVANNI
Ritiriamociunpoco,escopriamoterren.
LEPORELLO
Gipresefoco!
(Vannoindisparte)

ScenaQuinta
DonnaElviraedetti
DONNAELVIRA

7.Ah,chimidicemai
Quelbarbarodov,
Chepermioscornoamai,
Chemimancdife?
Ah,seritrovolempio
Eamenontornaancor,
Vofarneorrendoscempio,
Glivocavareilcor.
DONGIOVANNI
(pianoaLeporello.)
Udisti?Qualchebelladalvago
abbandonata.Poverina!Cerchiamdi
consolareilsuotormento.
LEPORELLO
(Cosneconsolmileeottocento).
DONGIOVANNI
Signorina...

DONNAELVIRA
8.Chil?
DONGIOVANNI
Stelle!chevedo!
LEPORELLO
(Obella!DonnaElvira!)
DONNAELVIRA
DonGiovanni!...
Seiqui,mostro,fellon,nidodinganni!
LEPORELLO
(Chetitolicruscanti!Mancomale
cheloconoscebene!)
DONGIOVANNI
Via,caraDonnaElvira,
calmatequellacollera...sentite...
Lasciatemiparlar...
DONNAELVIRA
Cosapuoidire,dopoazionsnera?Incasamia
entrifurtivamente.Aforzadarte,
digiuramentiedilushinghearrivi
asedurreilcormio;
minnamori,ocrudele!
Midichiarituasposa,epoi,mancando
dellaterraedelcielalsantodritto,
conenormedelitto
dopotreddaBurgostallontani.
Mabbandoni,mifuggi,elasciinpreda
alrimorsoedalpianto,
perpenaforsechetamaicotanto!
LEPORELLO
(Pareunlibrostampato!)
DONGIOVANNI
Oh,inquantoaquesto,ebbilemie
ragioni.
(aLeporello,ironicamente)
vero?
LEPORELLO
vero.
Echeragioniforti!
DONNAELVIRA
Equalisono,
senonlatuaperfidia,
laleggerezzatua?Mailgiustocielo
vollechiotitrovassi,
perfarlesue,lemievendette.
DONGIOVANNI
Ehvia!
siatepiragionevole!...(Mipone
acimentocostei!).Senoncredete
alabbromio,credete
aquestogalantuomo.
LEPORELLO
(Salvoilvero.)

95010MozartCompleteEdition
179

DONGIOVANNI
(forte)
Via,dilleunpoco...
LEPORELLO
(sottovoceaDonGiovanni)
Ecosadevodirle?
DONGIOVANNI
S,s,dillepurtutto.
(PartenonvistodaDonnElvira.)
DONNAELVIRA
Ebben,fapresto.
LEPORELLO
(Balbettando)
Madama...veramente...inquestomondo
Concissiacosaquandofossech...
ilquadronontondo...
DONNAELVIRA
Sciagurato!Cosdelmiodolorgiuoco
tiprendi,Ah!Voi...
(versoDonGiovanniche
noncredepartito)
Stelle!Liniquofugg!Miserame!
Dov?Inqualparte?
LEPORELLO
Eh!lasciatechevada.Eglinonmerta
chediluicipensiate.
DONNAELVIRA
Ilscellerato
mingann,mitrad...
LEPORELLO
Eh!Consolatevi;
nonsietevoi,nonfoste,enonsarete
nlaprima,nlultima.Guardate:
questononpicciollibrotuttopieno
deinomidisuebelle:
(Cavaditascaunalista)
ognivilla,ogniborgo,ognipaese
testimondisuedonnescheimprese.

9.Madamina,ilcatalogoquesto
Dellebellecheamilpadronmio;
uncatalogoeglichehofattio;
Osservate,leggeteconme.
InItaliaseicentoequaranta;
InAlmagnaduecentoetrentuna;
CentoinFrancia,inTurchianovantuna;
MainIspagnasongimilleetre.
Vhanfraquestecontadine,
Cameriere,cittadine,
Vhancontesse,baronesse,
Marchesine,principesse.
Evhandonnedognigrado,
Dogniforma,dogniet.
Nellabiondaeglihalusanza
Dilodarlagentilezza,
Nellabrunalacostanza,
Nellabiancaladolcezza.
Vuoldinvernolagrassotta,
Vuoldestatelamagrotta;
lagrandemaestosa,
Lapiccinaeognorvezzosa.
Dellevecchiefaconquista
Pelpiacerdiporleinlista;
Suapassionpredominante
lagiovinprincipiante.
Nonsipiccasesiaricca,
Sesiabrutta,sesiabella;
Purchportilagonnella,
Voisapetequelchefa.
(Parte.)


ScenaSesta
DonnaElvirasola.
DONNAELVIRA
10.Inquestaformadunque
mitradilscellerato!questoilpremio
chequelbarbarorendeallamormio?
Ah!Vendicarvoglio
lingannatomiocor.Priacheimifugga
siricorra...sivada...Iosentoinpetto
solvendettaparlar,rabbiaedispetto.
(Parte.)

ScenaSettima
Zerlina,MasettoeCorodiContadinidamboi
sessi,checantano,suonanoeballano.
ZERLINA
11.Giovinettechefateallamore,
Nonlasciatechepassilet!
Senelsenovibulicailcore,
Ilrimediovedeteloqua!
Larala,larala,larala.
Chepiacer,chepiacerchesar!
CORO
Larala,ecc.
MASETTO
Giovinettileggeriditesta,
Monandategirandodil.
Pocodurademattilafesta,
Mapermecominciatononha.
Larala.Larala.Larala.Chepiacer,chepiacer
chesar!
CORO
Larala,ecc.
ZERLINAEMASETTO
Vieni,vieni,carino.godiamo,
Ecantiamoeballiamoesuoniamo!
Chepiacer,chepiacerchesar!

ScenaOttava
DonGiovanni,Leporelloedetti.
DONGIOVANNI
12.Mancomale,partita.Ohguarda,che
bellagiovent;chebelledonne!
LEPORELLO
(Fratante,permiaf,
visarqualchecosaancheperme.)
DONGIOVANNI:
Cariamici,buongiorno,Seguitatea
stareallegramente,seguiteasuonar,
buonagente.Cqualchesposalizio?
ZERLINA
S,signore,elasposa.sonio.
DONGIOVANNI
Meneconsolo.Losposo?
MASETTO
Io,perservirla.
DONGIOVANNI
Ohbravo!Perservirmi;questovero
parlardagalantuomo.
LEPORELLO
(Bastachesiamarito.)
ZERLINA
Oh,ilmioMasetto
unuomdottimocore.
DONGIOVANNI:
Ohanchio,vedete!
Vogliochesiamoamici.Ilvostronome?
ZERLINA
Zerlina.
DONGIOVANNI
(aMasetto)

Eiltuo?
MASETTO
Masetto.
DONGIOVANNI
OcaroilmioMasetto!
CaralamiaZerlina!vesibisco
lamiaprotezione,Leporello?
(aLeporellochefascherziallealtrecontadine)
Cosafail,birbone?
LEPORELLO
Anchio,caropadrone,
esibiscolamiaprotezione.
DONGIOVANNI
Presto,vaconcostor;nelmiopalazzo
conducilisulfatto.Ordinachabbiano
cioccolatta,caff,vini,prosciutti;
cercadivertirtutti,
mostraloroilgiardino,
lagalleria,lecamere;ineffetto
facheresticontentoilmioMasetto.
Haicapito?
LEPORELLO
(aicontadini)
Hocapito.Andiam!
MASETTO
Signore!
DONGIOVANNI
Cosac?
MASETTO
LaZerlina
senzamenonpustar.
LEPORELLO
(aMasetto)
Invostroloco
cisarsuaeccellenza;esaprbene
farelevostreparti.
DONGIOVANNI
Oh,laZerlina
inmanduncavalier.Vapur,frapoco
ellamecoverr.
ZERLINA
Va,nontemere.
Nellemanisonioduncavaliere.
MASETTO
Eperquesto...
ZERLINA
Eperquesto
noncdadubitar...
MASETTO:
Edio,cospetto...
DONGIOVANNI
Ol,finiamledispute!Sesubito
senzaaltroreplicarnontenevai,
(mostrandoglilaspada)
Masetto,guardaben,tipentirai.

13.MASETTO
Hocapito,signors!
Chinoilcapoemenevo.
Giacchpiaceavoicos,
Altrereplichenonfo.
Cavaliervoisietegi.
Dubitarnonpossoaff;
Melodicelabont
Chevoleteaverperme.
(aZerlina,aparte)
Bricconaccia,malandrina!
Fostiognorlamiaruina!
(aLeporello,chelovuolcondurseco.)
Vengo,vengo!
(aZerlina)

95010MozartCompleteEdition
180

Resta,resta.
unacosamoltoonesta!
Facciailnostrocavaliere
cavalieraancorate.(Masettopartecon
Leporelloed
icontadini)

ScenaNona
DonGiovannieZerlina.
DONGIOVANNI:
14.Alfinsiamliberati,
Zerlinettagentil,daquelscioccone.
Chenedite,mioben,sofarpulito?
ZERLINA
Signore,miomarito...
DONGIOVANNI
Chi?Colui?
Viparcheunonestuomo,
unnobilcavalier,comiomivanto,
possasoffrirchequelvisettodoro,
quelvisoinzuccherato
daunbifolcacciovilsiastrapazzato?
ZERLINA
Ma,signore,ioglidiedi
paroladisposarlo.
DONGIOVANNI
Talparola
nonvaleunzero.Voinonsietefatta
peresserepaesana;unaltrasorte
viprocuranquegliocchibricconcelli,
queilabrettisbelli,
quelleditucciecandideeodorose,
parmitoccargiuncataefiutarrose.
ZERLINA
Ah!...Nonvorrei...
DONGIOVANNI
Chenonvorreste?
ZERLINA
Alfine
ingannatarestar.Iosocheraro
colledonnevoialtricavalieri
sieteonestiesinceri.
DONGIOVANNI
unimpostura
dellagenteplebea!Lanobilit
hadipintanegliocchilonest.
Ors,nonperdiamtempo;
inquestoistante
iotivogliosposar.
ZERLINA
Voi!
DONGIOVANNI
Certo,io.
Quelcasinettomio:solisaremo
el,gioiellomio,cisposeremo.

15.Lcidaremlamano,
Lmidiraidis.
Vedi,nonlontano;
Partiam,benmio,daqui.
ZERLINA
(Vorreienonvorrei,
Mitremaunpocoilcor.
Felice,ver,sarei,
Mapuburlarmiancor.)
DONGIOVANNI
Vieni,miobeldiletto!
ZERLINA
(MifapietMasetto.)
DONGIOVANNI
Iocangiertuasorte.


ZERLINA
Presto...nonsonpiforte.
DONGIOVANNI
Andiam!
ZERLINA
Andiam!
ADUE
Andiam,andiam,miobene.
aristorarlepene
Duninnocenteamor.(Siincamminano
abbracciativersoilcasino.)

ScenaDecima
DonnaElviraedetti
DONNAELVIRA
(chefermaconattidisperatissimiDon
Giovanni)
16.Fermati,scellerato!IIcielmifece
udirletueperfidie.Iosonoatempo
disalvarquestamiserainnocente
daltuobarbaroartiglio.
ZERLINA
Meschina!Cosasento!
DONGIOVANNI
(Amor,consiglio!)
(PianoaDonnaElvira.)
Idolmio,nonvedete
chiovogliodivertirmi?
DONNAELVIRA
Divertirti,
vero?Divertirti...Ioso,crudele,
cometutidiverti.
ZERLINA
Ma,signorcavaliere,
verquelchelladice?
DONGIOVANNI
(pianoaZerlina)
Lapoverainfelice
dimeinnamorata,
eperpietdeggiofingereamore,
chioson,permiadisgrazia,uomdibuon
cuore.

DONNAELVIRA
17.Ah,fuggiiltraditor!
Nonlolasciarpidir!
Illabbromentitor,
fallaceilciglio.
Damieitormentiimpara
Acrederaquelcor,
Enascailtuotimor
Dalmioperiglio.
(parteconducendoviaZerlina.)

ScenaUndicesima
DonGiovanni,poiDonOttavioeDonnAnna
vestitaalutto.
DONGIOVANNI
18.Miparchoggiildemoniosidiverta
dopporsiamieipiacevoliprogressi
vannomaltuttiquanti.
DONOTTAVIO
(aDonnAnna)
Ah!Chora,idolomio,sonvaniipianti,
divendettasiparli.Oh,DonGiovanni!
DONGIOVANNI
(Mancavaquestointoppo!)
DONNAANNA
Signore,atempoviritroviam:avete
core,aveteanimagenerosa?

DONGIOVANNI
(Staavederecheildiavologli
hadettoqualchecosa.)
Chedomanda!Perch?
DONNAANNA
Bisognoabbiamo
dellavostraamicizia.
DONGIOVANNI
(Mitornailfiatoincorpo.)Comandate.
Icongiunti,iparenti,
questaman,questoferro,ibeni,ilsangue
spenderperservirvi.
Mavoi,bellaDonnAnna,
perchcospiangete?
IIcrudelechifucheoslacalma
turbardelvivervostro?

ScenaDodicesima
DonnaElviraedetti
DONNAELVIRA
(aDonGiovanni)
Ah,tiritrovoancor,perfidomostro!
(aDonnAnna)
19.Nontifidar,omisera,
Diquelribaldocor;
Megitradquelbarbaro,
tevuoltradirancor.
DONNAANNAEDONOTTAVIO
(Cieli,cheaspettonobile,
Chedolcemaest!
IIsuopallor,lelagrime
Mempionodipiet.)
DONGIOVANNI
(aparte;DonnaElviraascolta)
Lapoveraragazza
pazza,amicimiei;
Lasciatemiconlei,
Forsesicalmer.
DONNAELVIRA
Ahnoncredetealperfido!
DONGIOVANNI:
pazza,nonbadate.
DONNAELVIRA
Restateancor,restate!
DONNAANNAEDONOTTAVIO
Achisicreder?
DONNAANNA,DONOTTAVIO,DONGIOVANNI
Certomotodignototormento
Dentrolalmagiraremisento
Chemidice,perquellinfelice,
Centocosecheintendernonsa.
DONNAELVIRA
Sdegno,rabbia,dispetto,spavento
Dentrolalmagiraremisento,
Chemidice,diqueltraditore,
Centocosecheintendernonsa.
DONOTTAVIO
(aDonnAnna)
Iodiquanonvadovia
Senonsocomlaffar.
DONNAANNA
(aOttavio)
Nonhalariadipazzia
IIsuotratto,ilsuoparlar.
DONGIOVANNI
(Semenvado,sipotra
Qualchecosasospettar.)
DONNAELVIRA
(aDonnAnnaeOttavio)
Daquelceffosidovra
Laneralmaguidicar.

95010MozartCompleteEdition
181

DONOTTAVIO
(aDonGiovanni)
Dunquequella?...
DONGIOVANNI
pazzarella.
DONNAANNA
Dunquequegli?...
DONNAELVIRA
untraditore.
DONGIOVANNI:
Infelice!
DONNAELVIRA
Mentitore!
DONNAANNAEDONOTTAVIO
Incomincioadubitar.
(Passanodeicontadini.)
DONGIOVANNI
Zitto,zitto,chelagente
Siradunaanoidintorno;
Siateunpocopiprudente,
Vifaretecriticar.
DONNAELVIRA
(forte,aDonGiovanni)
Nonsperarlo,oscellerato,
Hoperdutalaprudenza;
Letuecolpeedilmiostato
Voglioatuttipalesar.
DONNAANNAEDONOTTAVIO
(aparte,guardandoDonGiovanni)
Quegliaccentissommessi,
Quelcangiarsidicolore,
Sonindizitroppoespressi
Chemifandeterminar.
(DonnElviraparte.)

DONGIOVANNI
20.Poverasventurata!Ipassisuoi
voglio,seguir;nonvoglio
chefacciaunprecipizio
perdonate,bellissimaDonnAnna;
seservirvipossio,
inmiacasavaspetto.
Amici,addio!

ScenaTredicesima
DonnAnnaeDonOttavio
DONNAANNA
21.DonOttavio,sonmorta!
DONOTTAVIO:
Cosastato?
DONNAANNA
Perpiet..soccorretemi!
DONOTTAVIO
Miobene,
fatecoraggio!
DONNAANNA
Ohdei!Quegliilcarnefice
delpadremio!
DONOTTAVIO
Chedite?
DONNAANNA
Nondubitatepi.Gliultimiaccenti
chelempioprofer,tuttalavoce
richiamarnelcormiodiquellindegno
chenelmioappartamento...
DONOTTAVIO
Ociel!Possibile
chesottoilsacromantodamicizia...
macomefu?Narratemi
lostranoavvenimento:


DONNAANNA
Eragialquanto
avanzatalanotte,
quandonellemiestanze,ovesoletta
mitrovaipersventura,entrariovidi,
inunmantelloavvolto,
unuomchealprimoistante
aveapresopervoi.
Mariconobbipoi
cheuningannoerailmio.
DONOTTAVIO
(conaffanno)
Stelle!Seguite!
DONNAANNA
Tacitoamesappressa
emivuoleabbracciar;
sciogliermicerco,
eipimistringe;iogrido;
nonvienealcun:conunamanocerca
dimpedirelavoce,
ecollaltramafferra
strettacos,chegimicredovinta.
DONOTTAVIO
Perfido!..alfin?
DONNAANNA:
Alfineilduol,lorrore
dellinfameattentato
accrebbeslalenamia,cheaforza
disvincolarmi,torcermiepiegarmi,
daluimisciolsi!
DONOTTAVIO
Ohim!Respiro!
DONNAANNA
Allora
rinforzoistridimiei,chiamosoccorso;
fuggeilfellon;arditamenteilseguo
finnellastradaperfermarlo,esono
assalitriceedassalita:ilpadre
vaccorre,vuolconoscerloelindegno
chedelpoverovecchioerapiforte,
compiilmisfattosuocoldarglimorte!

22.Orsaichilonore
Rapireamevolse,
Chifuiltraditore
Cheilpadremitolse.
Vendettatichiedo,
Lachiedeiltuocor.
Rammentalapiaga
Delmiseroseno,
Rimiradisangue
Copertoilterreno.
Seliraintelangue
Dungiustofuror.(Parte.)

ScenaQuattordicesima
Ottaviosolo
DONOTTAVIO
23.Comemaicrederdeggio,
disnerodelitto
capaceuncavaliero!
Ah!Discoprireilvero
ognimezzosicerchi.Iosentoinpetto
edisposoedamico
ildoverchemiparla:
disingannarlavoglio,ovendicarla.
Dallasuapacelamiadipende;
Quelchealeipiacevitamirende,
Quelcheleincrescemortemid.
Sellasospira,sospiroanchio;
miaquellira,quelpiantomio;

Enonhobene,sellanonlha.
(Parte.)

ScenaQuindicesima
Leporello,poiDonGiovanni
LEPORELLO
24.Iodeggioadognipatto
persempreabbandonarquestobelmatto...
Eccoloqui:guardate
conqualindifferenzaseneviene!
DONGIOVANNI
Oh,Leporellomio!vatuttobene.
LEPORELLO
DonGiovanninomio!vatuttomale.
DONGIOVANNI
Comevatuttomale?
LEPORELLO
Vadoacasa,
comevoimordinaste,
contuttaquellagente.
DONGIOVANNI
Bravo!
LEPORELLO
Aforzadichiacchiere,divezziedibugie,
chhoimparatosbeneastarconvoi,
cercodintrattenerli...
DONGIOVANNI
Bravo!
LEPORELLO
Dico
millecoseaMasettoperplacarlo,
pertrarglidalpensierlagelosia.
DONGIOVANNI
Bravo,incoscienzamia!
LEPORELLO
Facciochebevano
egliuominieledonne.
Songimezzoubbriachi.
Altricanta,altrischerza,
altriseguitaaber.Insulpibello,
chicredetechecapiti?
DONGIOVANNI
Zerlina.
LEPORELLO
Bravo!Econleichiviene?
DONGIOVANNI
DonnaElvira!
LEPORELLO
Bravo!Edissedivoi?
DONGIOVANNI
Tuttoquelmalcheinboccalevena.
LEPORELLO
Bravo,incoscienzamia!
DONGIOVANNI
Etu,cosafacesti?
LEPORELLO
Tacqui.
DONGIOVANNI
Edella?
LEPORELLO
Seguagridar.
DONGIOVANNI
Etu?
LEPORELLO
Quandomiparve
chegifossesfogata,dolcemente
fuordellortolatrass,econbellarte
chiusalaportaachiaveiodilmicavai,
esullaviasolettalalasciai.
DONGIOVANNI
Bravo,bravo,arcibravo!

95010MozartCompleteEdition
182

Laffarnonpuandarmeglio.Incominciasti,
iosaprterminar.Troppomipremono
questecontadinotte;
levogliodivertirfinchviennotte.

25.Finchhandalvino
Caldalatesta
Unagranfesta
Fapreparar.
Setroviinpiazza
Qualcheragazza,
Tecoancorquella
Cercamenar.
Senzaalcunordine
Ladanzasia;
Chiilminuetto,
Chilafollia,
Chilalemanna
Faraiballar.
Ediofrattanto
Dallaltrocanto
Conquestaequella
Voamoreggiar.
Ah!lamialista
Domanmattina
Dunadecina
Deviaumentar!
(Partono.)

ScenaSedicesima
Giardinocondueportechiuseschiaveperdi
fuori.Duenicchie.Zerlina,Masettoe
Contadini.
ZERLINA
26.Masetto...sentiunpo...Masetto,dico.
MASETTO
Nonmitoccar.
ZERLINA
Perch?
MASETTO
Perchmichiedi?
Perfida!Iltoccosopportardovrei
dunamanoinfedele?
ZERLINA
Ahno!taci,crudele,
Iononmertodatetaltrattamento.
MASETTO
Come!Edhailardimentodiscusarti?
Starsoloconunuom!abbandonarmi
ilddellemienozze!Porreinfronte
aunvillanodonore
questamarcadinfamia!Ah,senonfosse,
senonfosseloscandalo,vorrei...
ZERLINA
Masecolpaiononho,masedalui
ingannatarimasi;epoi,chetemi?
Tranquillati,miavita;
nonmitocclapuntadelladita.
Nonmelocredi?Ingrato!
Vienqui,sfogati,ammazzami,fatutto
dimequelchetipiace,
mapoi,Masettomio,mapoifapace.

27.Batti,batti,obelMasetto,
LatuapoveraZerlina;
Starquicomeagnellina
Letuebotteadaspettar.
Lascerstraziarmiilcrine,
Lascercavarmigliocchi,
Elecaretuemanine
Lietapoisaprbaciar.


Ah,lovedo,nonhaicore!
Pace,pace,ovitamia,
Incontentoedallegria
Notteedvogliampassar,
S,notteedvogliampassar.
(Parte.)

CD161
ScenaDiciassettesima
Masetto,poiDonGiovannididentroedi
nuovoZerlina.
MASETTO:
1.Guardaunpocomeseppe
questastregasedurmi!Siamopure
ideboliditesta!
DONGIOVANNI
(didentro.)
Siapreparatotuttoaunagranfesta.
ZERLINA
(rientrando)
AhMasetto,Masetto,odilavoce
delmonscavaliero!
MASETTO
Ebben,chec?
ZERLINA
Verr...
MASETTO
Lasciachevenga.
ZERLINA
Ah,sevifosse
unbucodafuggir!
MASETTO
Dicosatemi?
Perchdiventipallida?Ah,capisco,
capisco,bricconcella!
Haitimorchiocomprenda
comtravoipassatalafaccenda.

2.Presto,presto,priacheivenga,
Pormivodaqualchelato;
Cunanicchiaquicelato,
Chetochetomivostar.
ZERLINA
Senti,senti,dovevai?
Ah,nontasconder,oMasetto!
Setitrova,poveretto,
Tunonsaiquelchepufar.
MASETTO
Faccia,dicaquelchevuole.
ZERLINA
(sottovoce)
Ah,nongiovanleparole!
MASETTO
Parlaforte,equitarresta.
ZERLINA
Checapricciohainellatesta?
MASETTO
(Capirsemfedele,
Einqualmodoandlaffar.)
(Entranellanicchia.)
ZERLINA
(Quellingrato,quelcrudele
Oggivuolprecipitar.)

ScenaDiciottesima
DonGiovanni,ContadinieServi,Zerlinae
Masettonascosto.
DONGIOVANNI
S!svegliatevidabravi!
S!coraggio,obuonagente!

Vogliamstarallegramente,
Vogliamridereescherzar.
(aiservi.)
Allastanzadelladanza
Conducetetuttiquanti,
edatuttiinabbondanza
Granrifreschifatedar.
CORO
(partendocoservi.)
S!svegliatevidabravi,ecc.

ScenaDiciannovesima
DonGiovanni,ZerlinaeMasettonascosto.
ZERLINA
Traquestarboricelata,
Sipudarchenonmiveda.
(Vuolnascondersi)
DONGIOVANNI
Zerlinetta,miagarbata,
Thogivisto,nonscappar!
(Laprende.)
ZERLINA
Ahlasciatemiandarvia!
DONGIOVANNI
No,no,resta,gioiamia!
ZERLINA
Sepietadeaveteincore!
DONGIOVANNI
S,benmio!sontuttoamore...
Vieniunpocoinquestoloco
fortunataiotivofar.
ZERLINA
(Ah,seivedeilsposomio,
Sobenioquelchepufar.)
(DonGiovanninellaprirela
nicchiascopreMasetto.)
DONGIOVANNI
Masetto!
MASETTO
S,Masetto.
DONGIOVANNI
(unpoconfuso)
chiusol,perch?
LabellatuaZerlina
Nonpu,lapoverina,
Pistarsenzadite.
MASETTO
(ironico)
Capisco,ssignore.
DONGIOVANNI
Adessofatecore.
(Sodeunorchestrainlontananza.)
Isuonatoriudite?
Veniteormaiconme.
ZERLINAEMASETTO
S,s,facciamocore,
Edaballarcoglialtri
Andiamotuttitre.
(Partono.)

ScenaVentesima
Sivafacendonotte.DonOttavio,DonnAnnae
DonnaElvirainmaschera;poiLeporelloeDon
Giovanniallafinestra.
DONNAELVIRA
Bisognaavercoraggio,
Ocariamicimiei,
Eisuoimisfattirei
Scoprirpotremoallor.
DONOTTAVIO
Lamicadicebene,

95010MozartCompleteEdition
183

Coraggioaverconviene;
(aDonnAnna)
Discaccia,ovitamia,
Laffannoediltimor.
DONNAANNA
Ilpassoperiglioso,
Punascerqualcheimbroglio.
Temopelcarosposo,
(aDonnaElvira)
Epervoitemoancor.
LEPORELLO
(aprendolafinestra)
Signor,guardateunpoco,
Chemascheregalanti!
DONGIOVANNI
(allafinestra)
Fallepassaravanti,
Dichecifannoonor.
DONNAANNA,DONNAELVIRAEDON
OTTAVIO
(Alvoltoedallavoce
Siscopreiltraditore.)
LEPORELLO
Z,z!Signoremaschere!
Z,z...
DONNAANNAEDONNAELVIRA
(adOttavio)
Via,rispondete.
LEPORELLO
Z,z...
DONOTTAVIO
Cosachiedete?
LEPORELLO
Alballo,sevipiace,
Vinvitailmiosignor.
DONOTTAVIO
Grazieditantoonore.
Andiam,compagnebelle.
LEPORELLO
(Lamicoanchesuquelle
Provafardamor.)
(Entraechiudelafinestra.)

DONNAANNAEDONOTTAVIO:
3.Proteggailgiustocielo
Ilzelodelmiocor.
DONNAELVIRA:
Vendichiilgiustocielo
Ilmiotraditoamor!
(Entrano.)

ScenaVentunesima
SalanellacasadiDonGiovanni,illuminatae
preparataperunagranfestadaballo.Don
Giovanni,Leporello,Zerlina,Masetto,
ContadinieContadine,servitoriconrinfreschi;
poiDonOttavio,DonnAnnaeDonnaElvirain
maschera.DonGiovannifasederleragazzee
Leporelloiragazzichesarannoinattodaver
finitounballo.
DONGIOVANNI:
4.Riposate,vezzoseragazze.
LEPORELLO
Rinfrescatevi,beigiovinotti.
DonGiovannieLeporello
Tornereteafarprestolepazze.
Tornereteascherzareballar.
DONGIOVANNI
Ehi!caff!
LEPORELLO
Cioccolata!


DONGIOVANNI
Sorbetti!
MASETTO
(pianoaZerlina)
Ah,Zerlina,guidizio!
LEPORELLO
Confetti!
ZERLINAEMASETTO
(aparte)
(Troppodolcecomincialascena;
Inamaropotraterminar.)
(vengonoportatiedistribuitiirinfreschi)
DONGIOVANNI
(accarezzandoZerlina)
Seipurvaga,brillanteZerlina.
ZERLINA
Suabont.
MASETTO
(fremendo)
Labricconafafesta!
LEPORELLO
(imitandoilpadrone)
Seipurcara,Gionnotta,Sandrina.
MASETTO
(guardandoDonGiovanni)
(Toccapur,cheticadalatesta!)
ZERLINA
(QuelMasettomiparstralunato,
Brutto,bruttosifaquestaffar.)
DONGIOVANNIELEPORELLO
(QuelMasettomiparstralunato,
Quibisognacervelloadoprar.)

ScenaVentiduesima
DonOttavio,DonnAnna,DonnaElviraedetti
LEPORELLO:
5.Venitepuravanti,
Vezzosemascherette!
DONGIOVANNI
apertoatuttiquanti,
Vivalalibert!
DonnaAnna,DonnaElviraeDonOttavio
Siamgratiatantisegni
Digenerosit.
TUTTI
Vivalalibert!
DONGIOVANNI
Ricominciateilsuono!
(aLeporello)
Tuaccoppiaiballerini.
(DonOttavioballailminuetto
conDonnAnna)
LEPORELLO
Dabravi,viaballate!
(Ballano.)
DONNAELVIRA
(aDonnAnna)
Quellalacontadina.
DONNAANNA
(adOttavio)
Iomoro!
DONOTTAVIO
(aDonnAnna)
Simulate!
DONGIOVANNILEPORELLO
(conironia)
Vabeneinverit!
MASETTO
Vabeneinverit!
DONGIOVANNI
(aLeporello)

AbadatienMasetto.
(aZerlina)
Iltuocompagnoiosono,
Zerlinavienpurqua...
(simetteaballareunaControdanzacon
Zerlina.)
LEPORELLO
Nonballi,poveretto!
Vienqu,Masettocaro,
Facciamquelchaltrifa.
(faballareaforzaMasetto)
MASETTO
No,no,ballarnonvoglio.
LEPORELLO
Eh,balla,amicomio!
MASETTO
No!
LEPORELLO
S,caroMasetto!
DONNAANNA
(aOttavio)
Resisternonpossio!
DONNAELVIRAEDONOTTAVIO
(aDonnAnna)
Fingeteperpiet!
DONGIOVANNI
Vieniconme,vitamia!
(BallandoconduceviaZerlina.)
MASETTO
Lasciami!Ahno!Zerlina!
(EntrasciogliendosidaLeporello.)
ZERLINA
OhNumi!sontradita!...
LEPORELLO
Quinasceunaruina.
(Entra.)
DONNAANNA,DONNAELVIRAEDON
OTTAVIO
(fraloro)
Liniquodasestesso
Nellaccioseneva!
ZERLINA
(didentro)
Gente...aiuto!...aiuto!...gente!
DONNAANNA,DONNAELVIRAEDON
OTTAVIO
Soccorriamolinnocente!
(Isuonatoripartono.)
MASETTO
Ah,Zerlina!
ZERLINA
(didentro,dallaparteopposta)
Scellerato!
DonnaAnna,DonnaElviraeDonOttavio
Oragridadaquellato!
Ahgettiamogilaporta!
ZERLINA
Soccorretemi!osonmorta!
DonnaAnna,DonnaElvira,DonOttavioe
MASETTO
Siamquinoipertuadifesa!
DONGIOVANNI
(Escecollaspadainmano,conducendoperun
braccioLeporello,efingedinonpoterla
sguainare
perferirlo)
Eccoilbirbochethaoffesa!
Madamelapenaavr!
Mori,iniquo!
LEPORELLO
Ah,cosafate?

95010MozartCompleteEdition
184

DONGIOVANNI
Mori,dico!
DONOTTAVIO
(cavandounapistola)
Nolsperate...
DONNAANNA,DONNAELVIRAEDON
OTTAVIO
(Lempiocredecontalfrode
Dinasconderlempiet!)
(Sicavanolamaschera.)
DONGIOVANNI
DonnaElvira!
DONNAELVIRA
S,malvagio!
DONGIOVANNI
DonOttavio!
DONOTTAVIO
S,signore!
DONGIOVANNI
(aDonnAnna)
Ah,credete...
TuttifuorchDonGiovannieLeporello
Traditore!Tuttogisisa!
Trema,trema,oscellerato!
Saprtostoilmondointero
Ilmisfattoorrendoenero
Latuafieracrudelt!
Odiiltuondellavendetta,
Chetifischiaintornointorno;
Sultuocapoinquestogiorno
Ilsuofulminecadr.
LEPORELLO
Nonsapiquelcheisifaccia
confusalasuatesta,
Eunorribiletempesta
Minacciando,oDio,lova
Manonmancainluicoraggio,
Nonsiperdeosiconfonde
Secadesseancorailmondo,
Nullamaitemerlofa.
DONGIOVANNI
confusalamiatesta,
Nonsopiquelchiomifaccia,
Eunorribiletempesta
Minacciando,oDio,miva
Manonmancainmecoraggio,
Nonmiperdoomiconfondo,
Secadesseancorailmondo,
Nullamaitemermifa.

AttoII
ScenaPrima
StradaDonGiovanniconunmandolinoin
manoeLeporello
DONGIOVANNI
6.Ehvia,buffone,nonmiseccar!
LEPORELLO
No,no,padrone,nonvorestar
DONGIOVANNI
Sentimi,amico...
LEPORELLO
Voandar,vidico!
DONGIOVANNI
Machetihofatto
Chevuoilasciarmi?
LEPORELLO
Onienteaffatto,
Quasiammazzarmi
DONGIOVANNI
Va,cheseimatto,
Fuperburlar


LEPORELLO
Ediononburlo,
Mavoglioandar.

DONGIOVANNI
7.Leporello!
LEPORELLO
Signore?
DONGIOVANNI
Vienqui,facciamopace,prendi!
LEPORELLO
Cosa?
DONGIOVANNI
(Gliddeldenaro)
Quattrodoppie.
LEPORELLO
Oh,sentite:
perquestavoltalacerimoniaaccetto;
manonviciavvezzate;noncredete
disedurreimieipari,
(prendendolaborsa)
comeledonne,aforza
didanari.
DONGIOVANNI
Nonparliampidici!Tibastalanimo
difarquelchiotidico?
LEPORELLO
Purchlasciamledonne.
DONGIOVANNI
Lasciarledonne?Pazzo!
Saichelleperme
sonnecessariepidelpanchemangio,
pidellariachespiro!
LEPORELLO
Eavetecoredingannarlepoitutte?
DONGIOVANNI
tuttoamore!
Chiaunasolafedele,
versolaltrecrudele:
iocheinmesento
sestesosentimento,
vobeneatuttequante.
Ledonnepoichcalcolarnonsanno,
ilmiobuonnaturalchiamanoinganno.
LEPORELLO
Nonhovedutomai
naturalepivasto,epibenigno.
Ors,cosavorreste?
DONGIOVANNI
Odi!Vedestitulacamerieradi
DonnaElvira?
LEPORELLO
Io?No!
DONGIOVANNI
Nonhaiveduto
qualchecosadibello,
caroilmioLeporello;oraioconlei
votentarlamiasorte,edhopensato,
giacchsiamversosera,
peraguzzarlemegliolappetito
dipresentarmialeicoltuovestito.
LEPORELLO
Eperchnonpotreste
presentarvicolvostro?
DONGIOVANNI
Hanpococredito
congentiditalrango
gliabitisignorili.
(Sicavailmantello.)
Sbrigati,via!

LEPORELLO:
Signor,perpiragioni...
DONGIOVANNI
(concollera)
Finiscila!Nonsoffroopposizioni!
(Fannocambiodelmantelloedelcappello)

ScenaSeconda
DonGiovanni,LeporelloeDonnaElviraalla
finestradellalocanda.Sifanotteapocoa
poco.
DONNAELVIRA:
8.Ahtaci,ingiustocore!
Nonpalpitarmiinseno!
unempio,euntraditore
colpadiaverpiet.
LEPORELLO
(sottovoce)
Zitto!diDonnaElvira,
Signor,lavoceiosento!
DONGIOVANNI
(comesopra)
Cogliereiovoilmomento,
Tufermatiunpol!
(SimettedietroLeporello.)
Elvira,idolomio!...
DONNAELVIRA
Noncostuilingrato?
DONGIOVANNI
Si,vitamia,sonio,
Echieggoclarit.
DONNAELVIRA
(Numi,chestranoaffetto,
Misirisvegliainpetto!)
LEPORELLO
(Stateavederlapazza,
Cheancorglicreder!)
DONGIOVANNI
Discendi,ogioiabella,
Vedraichetuseiquella
Cheadoralalmamia
Pentitoiosonogi.
DONNAELVIRA
No,nonticredo,obarbaro!
DONGIOVANNI
(contrasportoequasipiangendo)
Ahcredimi,omuccido!
Idolomio,vienqua!
LEPORELLO
(sottovoce)
Seseguitate,iorido!
DONNAELVIRA
(Dei,checimentoquesto!
Nonsosiovadooresto!
Ahproteggetevoi
Lamiacredulit.)
DONGIOVANNI
(Sperochecadapresto!
Chebelcolpettoquesto!
Pifertiletalento
Delmio,no,nonsid.)
LEPORELLO
(Giquelmendacelabbro
Tornaasedurcostei,
Dehproteggete,odei!
Lasuacredulit.)
DonGiovanni
(allegrissimo)
9.Amore,chetipar?
LEPORELLO
Miparcheabbiate

95010MozartCompleteEdition
185

unanimadibronzo.
DONGIOVANNI
Val,cheseiilgrangonzo!Ascoltabene:
quandocosteiquiviene,
tucorriadabbracciarla,
fallequattrocarezze,
fingilavocemia:poiconbellarte
cercatecocondurlainaltraparte.
LEPORELLO
Ma,Signor...
DONGIOVANNI
Nonpirepliche!
LEPORELLO
Masepoimiconosce?
DONGIOVANNI
Nonticonoscer,setunonvuoi.
Zitto:ellapre,ehigiudizio!
(Vaindisparte.)

ScenaTerza
DonnaElviraedetti
DONNAELVIRA:
Eccomiavoi.
DONGIOVANNI
(Veggiamochefar.)
LEPORELLO
(Chebellimbroglio!)
DONNAELVIRA
Dunquecrederpotrcheipiantimiei
abbianvintoquelcor?Dunquepentito.
lamatoDonGiovannialsuodovere
eallamormioritorna?
LEPORELLO
(alterandosemprelavoce)
S,carina!
DONNAELVIRA
Crudele,sesapeste
quantelagrimeequanti
sospirvoimicostaste!
LEPORELLO
Io,vitamia?
DONNAELVIRA
Voi.
LEPORELLO
Poverina!Quantomidispiace!
DONNAELVIRA
Mifuggiretepi?
LEPORELLO
No,musobello.
DONNAELVIRA
Saretesempremio?
LEPORELLO
Sempre.
DONNAELVIRA
Carissimo!
LEPORELLO
Carissima!
(Laburlamidgusto.)
DONNAELVIRA
Miotesoro!
LEPORELLO
MiaVenere!
DONNAELVIRA
Sonpervoituttafoco.
LEPORELLO
Iotuttocenere.
DONGIOVANNI
(Ilbirbosiriscalda.)
DONNAELVIRA
Enonmingannerete?


LEPORELLO
No,sicuro.
DONNAELVIRA
Giuratelo.
LEPORELLO
Logiuroaquestamano,
chebaciocontrasporto,eaquebeilumi...
DONGIOVANNI
(fingendodiucciderequalcheduno)
Ah!eh!ih!ah!ih!ah,seimorto...
DONNAELVIRAELEPORELLO
Ohnumi!
(Fuggonassieme.)
DONGIOVANNI
Ha,ha,ha!Parchelasorte
misecondi;veggiamo!
Lefinestresonqueste.Oracantiamo.
(Cantaaccompagnandosicolmandolino)

10.Deh,vieniallafinestra,omiotesoro,
Deh,vieniaconsolarilpiantomio.
Seneghiamedidarqualcheristoro,
Davantiagliocchituoimorirvoglio!
Tuchhailaboccadolcepidelmiele,
Tucheilzuccheroportiinmezzoalcore!
Nonesser,gioiamia,conmecrudele!
Lasciatialmenveder,miobellamore!

ScenaQuarta
Masetto,armatodarchibusoepistola,
Contadiniedetto.
DONGIOVANNI
11.Vgenteallafinestra,
forsedessa!
(chiamando)zi,zi!
MASETTO
(aicontadiniarmatidifuciliebastoni)
Noncistanchiamo;ilcormidiceche
trovarlodobbiam.
DONGIOVANNI
(Qualcunoparla!)
MASETTO
(aicontadini)
Fermatevi;mipare
chealcunoquisimuova.
DONGIOVANNI
(Senonfallo,Masetto!)
MASETTO
(forte)
Chival?(asuoi)Nonrisponde;
animo,schioppoalmuso!
(piforte)Chival?
DONGIOVANNI:
(Nonsolo,
civuolgiudizio.)
Amici...
(CercadiimitarelavocediLeporello.)
(Nonmivoglioscoprir.)Seitu,Masetto?
MASETTO
(incollera)
Appuntoquello;etu?
DONGIOVANNI
Nonmiconosci?Ilservo
soniodiDonGiovanni.
MASETTO
Leporello!
Servodiquellindegnocavaliere!
DONGIOVANNI
Certo;diquelbriccone!
MASETTO
Diquelluomsenzaonore:ah,dimmiunpoco

dovepossiamtrovarlo?
Locercoconcostorpertrucidarlo!
DONGIOVANNI
(Bagattelle!)Bravissimo,Masetto!
Anchioconvoimunisco,
perfarglielaaquelbirbodipadrone.
Mauditeunpoquallamiaintenzione.
(accennandoadestra)

12.Metdivoiquavadano,
(accennandoasinistra)
Eglialtrivadanl!
Epianpianinlocerchino,
Lontannonfiadiqua!
Seunuomeunaragazza
Passeggianperlapiazza,
Sesottoaunafinestra
Fareallamorsentite,
Feritepur,ferite,
Ilmiopadronsar.
Intestaeglihauncappello
Concandidipennacchi,
Addossoungranmantello,
Espadaalfiancoegliha.
(aiContadini)
Andate,fatepresto!
(aMasetto)
Tusolverraiconme.
Noifardobbiamoilresto,
Egivedraicos.
(PartonoiContadinidaoppostevie.)

ScenaQuinta
DonGiovanni,Masetto
DONGIOVANNI
13.Zitto,lasciachiosenta!
Ottimamente.
(essendosiassicuratochei
Contadinisonogilontani)
Dunquedobbiamucciderlo?
MASETTO
Sicuro!
DONGIOVANNI
Enontibasteraromperglilossa,
fracassarglilespalle?
MASETTO
No,no,voglioammazzarlo,
vofarloincentobrani.
DONGIOVANNI
Haibuonearmi?
MASETTO
Cospetto!
Hopriaquestomoschetto,
epoiquestapistola.
(DmoschettoepistolaaDonGiovanni.)
DONGIOVANNI
Epoi?
MASETTO
Nonbasta?
DONGIOVANNI
Eh,bastacerto.Orprendi:
(BatteMasettocolrovesciodellaspada.)
questaperlapistola,
questaperilmoschetto...

MASETTO
14.Ahi,ahi!...latestamia!
DONGIOVANNI:
Taci,otuccido!
Questiperammazzarlo,
Questiperfarloinbrani!

95010MozartCompleteEdition
186

Villano,mascalzon!Ceffodacani!
(MasettocadeeDonGiovanniparte.)

ScenaSesta
Masetto,indiZerlinaconlanterna.
MASETTO
Ahi!ahi!latestamia!
Ahi,ahi!lespalleeilpetto!
ZERLINA
Disentiremiparve
lavocediMasetto!
MASETTO
ODio,Zerlinamia,
soccorso!
ZERLINA
Cosastato?
MASETTO
Liniquo,ilscellerato
miruppelossaeinervi.
ZERLINA
Ohpoverettame!Chi?
MASETTO
Leporello!
oqualchediavolchesomigliaalui!
ZERLINA
Crudel,nonteldissio
checonquestatuapazzagelosia
tiridurrestiaqualchebruttopasso?
Dovetiduole?
MASETTO
Qui.
ZERLINA
Epoi?
MASETTO:
Qui,eancoraqui!
ZERLINA
Epoinontiduolaltro?
MASETTO
Duolmiunpoco
questopie,questobraccio,equestamano.
ZERLINA
Via,via,nongranmal,seilrestosano.
Vientenemecoacasa;
purchtumiprometta
desseremengeloso,
io,iotiguarir,caroilmiosposo.

15.Vedrai,carino,
seseibuonino,
Chebelrimedio
tivogliodar!
naturale,
nonddisgusto,
Elospeziale
nonlosafar.
uncertobalsamo
Chioportoaddosso,
Daretelposso,
Seilvuoiprovar.
Sapervorresti
dovemista?
Sentilobattere,
toccamiqua!
(Glifatoccareilcuore,poipartono.)

ScenaSettima
AtriooscurocontreporteincasadiDonna
Anna,DonnaElviraeLeporello.
LEPORELLO
(fingendolavocedelpadrone)
16.Dimoltefaciillume


savvicina,omioben:stiamoquiunpoco
finchdanoisiscosta.
DONNAELVIRA
Machetemi,
adoratomiosposo?
LEPORELLO
Nulla,nulla...
Certiriguardi,iovovederseillume
gilontano.(Ah,come
dacosteiliberarmi?)
Rimanti,animabella!
DONNAELVIRA
Ah!nonlasciarmi!

17.Sola,solainbuioloco
Palpitarilcormisento,
Emassaleuntalspavento,
Chemisembradimorir.
LEPORELLO
(andandoatentone)
(Pichecerco,menritrovo
questaportasciagurata;
Piano,piano,lhotrovata!
Eccoiltempodifuggir.)
(sbaglialuscita)

ScenaOttava
DonnAnna,DonOttavio,vestitialutto.Servi
conlumi,edetti.
(DonnElviraalveniredeilumisiritirainun
angolo,Leporelloinunaltro)
DONOTTAVIO
Tergiilciglio,ovitamia,
Edcalmaatuodolore!
Lombraomaidelgenitore
Penaavrdetuoimartir.
DONNAANNA
Lasciaalmenallamiapena
Questopiccoloristoro;
Sollamorte,omiotesoro,
IImiopiantopufinir.
DONNAELVIRA
(senzaesservista)
Ahdovlosposomio?
LEPORELLO
(dallaportasenzaesservisto)
(Semitrova,sonperduto!)
DONNAELVIRAELEPORELLO
Unaportalveggio,
Cheto,cheto,vopartir!
(Leporello,nelluscire,sincontraconMasetto
eZerlina.)

ScenaNona
Masettoconbastone,Zerlinaedetti.
ZERLINAEMASETTO
Ferma,briccone,dovetenvai?
(Leporellosascondelafaccia.)
DONNAANNAEDONOTTAVIO
Eccoilfellone...comeraqua?
QUARTETTO
Ah,morailperfidochemhatradito!
DONNAELVIRA
miomarito!Piet!
QUARTETTO
DonnaElvira?quellachiovedo?
Appenailcredo!No,no,Morr!
(MentreDonOttaviostaperucciderlo,
Leporellosi
scopreesimetteinginocchio)

LEPORELLO
(quasipiangendo)
Perdon,perdono,signorimiei!
Quelloiononsonosbagliacostei!
Viverlasciatemipercarit!
QUINTETTO
Dei!Leporello!Cheingannoquesto!
Stupidoresto!Chemaisar?

LEPORELLO
18.(Milletorbidipensieri
Misaggiranperlatesta;
Semisalvointaltempesta,
unprodigioinverit.)
QUINTETTO
(Milletorbidipensieri
Misaggiranperlatesta:
Chegiornata,ostelle,questa!
Cheimpensatanovit!)
(DonnAnnaparte.)

ZERLINA
(aLeporello,confuria)
19.Dunquequelloseitu,cheilmioMasetto
pocofacrudelmentemaltrattasti!
DONNAELVIRA
Dunquetumingannasti,oscellerato,
spacciandoticonmeperDonGiovanni!
DONOTTAVIO
Dunquetuinquestipanni
venistiquiperqualchetradimento!
DONNAELVIRA
Ametoccapunirlo.
ZERLINA
Anziame.
DONOTTAVIO
No,no,ame.
MASETTO
Accoppatelomecotuttietre.

LEPORELLO
20.Ah,piet,signorimiei!
Dragioneavoi,alei
Maildelittomionon.
IIpadronconprepotenza,
Linnocenzamirub.
(pianoaDonnaElvira)
DonnaElvira,compatite!
Voicapitecomeand.
(aZerlina)
DiMasettononsonulla,
(accennandoaDonnaElvira)
Veldirquestafanciulla.
unorettacirumcirca,
Checonleigirandovo.
(aDonOttavio,conconfusione)
Avoi,signore,nondiconiente,
Certotimore,certoaccidente,
Difuorichiaro,didentroscuro,
Noncriparo,laporta,ilmuro.
(additandolaportadoverasi
chiusopererrore)
Iomenevadoversoquellato,
Poiquicelato,laffarsisa!
Masiosapeva,fuggaperqua!
(fuggeprecipitosamente)

ScenaDecima
DonOttavio,DonnaElvira,ZerlinaeMasetto.
DONNAELVIRA
21.Ferma,perfido,ferma!

95010MozartCompleteEdition
187

MASETTO
Ilbirbohalaliaipiedi!
ZERLINA
Conqualartesisottrasseliniquo.
DONOTTAVIO
Amicimiei,dopoeccessisenormi,
dubitarnonpossiamcheDonGiovanni
nonsialempiouccisore
delpadrediDonnAnna;inquestacasa
perpocheorefermatevi,unricorso
vofarachisideve,einpochiistanti
vendicarviprometto.
Cosvuoledover,pietade,affetto!

22.Ilmiotesorointanto
Andateaconsolar,
Edelbelciglioilpianto
Cercatediasciugar.
Ditelecheisuoitorti
Acendicariovado;
Chesoldistragiemorti
Nunziovogliotornar.
(Partono.)

ScenaUndicesima
Zerlina,concoltelloallamano,conducefuori
Leporellopericapelli.
ZERLINA
(Lofermapelvestito.)
Restatiqua.
LEPORELLO
Percarit,Zerlina!
ZERLINA
Eh!nonccaritpeiparituoi.
LEPORELLO
Dunquecavarmivuoi...
ZERLINA
Icapelli,latesta,ilcoregliocchi!
LEPORELLO
Senti,carinamia!
(Vuolfarlealcunesmorfie.)
ZERLINA
(Lorespinge)
Guaisemitocchi!
Vedrai,schiumadebirbi,
qualpremionhachileragazzeingiuria.
LEPORELLO
(Liberatemi,oDei,daquestafuria!)
ZERLINA
(chiamandoversolascena)
Masetto,ol,Masetto!
Dovediavoloito...servi,gente!
Nessunvien...nessunsente.
(SitrascinadietroLeporelloper
tuttalascena.)
LEPORELLO
Fapiano,perpiet,nontrascinarmi
acodadicavallo.
ZERLINA
Vedrai,vedraicomefinisceilballo!
Prestoquaquellasedia.
LEPORELLO
Eccola!
ZERLINA
Siedi!
LEPORELLO
Stancononson.
ZERLINA
(Tirafuoridallasaccocciaunrasoio.)
Siedi,oconquestemani
tistrappoilcorepoilogettoaicani.


LEPORELLO
Siedo,matu,digrazia,
mettigiquelrasoio:
mivuoiforsesbarbar?
ZERLINA
S,mascalzone!
Iosbarbaretivosenzasapone.
LEPORELLO
EterniDei!
ZERLINA
Dammilaman!
LEPORELLO
(Esita.)
Lamano?
ZERLINA
(minacciando)
Laltra.
LEPORELLO
Machevuoifarmi?
ZERLINA
Vogliofar...vogliofarquellocheparmi!
(LegalemaniaLeporelloconunfazzoletto.)
LEPORELLO
Perquestetuemanine
candideetenerelle,
perquestafrescapelle,
abbipietdime!
ZERLINA
Nonvpiet,briccone;
sonunatigreirata,
unaspide,unleone
no,no,nonvpiet.
LEPORELLO
Ah!difuggirsiprovi...
ZERLINA
Seimortosetimovi.
LEPORELLO
Barbari,ingiustiDei!
Inmanodicostei
chicapitarmife?
ZERLINA
Barbarotraditore!
(Lolegaconunacorda,
elegalacordaalla
finestra.)
Deltuopadroneilcore
avessiquiconte.
LEPORELLO
Deh!nonmistringertanto,
lanimamiasenva.
ZERLINA
Senvadaoresti,intanto
nonpartiraidiqua!
LEPORELLO
Chestrette,oDei,chebotte!
Egiorno,ovvernotte?
Chescosseditremuoto!
Chebuiaoscurit!
ZERLINA
Digioiaedidiletto
sentobrillarmiilpetto.
Cos,cos,cogliuomini,
cos,cossifa.
(Parte.)

ScenaDodicesima
Leporellosedutoelegato.
LEPORELLO
(aduncontadinochepassainfondodella
scena)
Amico,perpiet,

unpocodacquafrescaochiomimoro!
Guardaunpocomestretto
mileglassassina!(Ilcontadinoparte.)Se
potessi
liberarmicoidenti...Oh,vengaildiavolo
adisfarquestigruppi!Iovovederdirompere
lacorda.
Comeforte!Pauradellamorte!
Etu,Mercurio,protettordeladri,
proteggiungalantuomoCoraggio!
(Fasforzipersciogliersi,cadelafinestraove
stalegatoilcapodellacorda.)
Bravo!Priachecosteiritorni
bisognadardisproneallecalcagna,
etrascinar,seoccorreunamontagna.
(Correviatrascinandosecosediaefinestra.)

ScenaTredicesima
DonnaElviraeZerlina
ZERLINA
Signora,andiam.Vedreteinqualmaniera
hoconcioilscellerato.
ELVIRA
Ah!sopraluisisfoghiilmiofurore.
ZERLINA
Stelle!inqualmodosisalvilbriccone?
ELVIRA
Lavrsottrattolempiosuopadrone.
ZERLINA
Fudessosenzafallo:anchediquesto
informiamDonOttavio;aluisispetta
farpernoitutti,odomandarvendetta.
(Parte.)

ScenaQuattordicesima
DonnaElvirasola.
DONNAELVIRA
Inqualieccessi,oNumi,inquaimisfatti
orribili,tremendi
avvoltoilsciagurato!
Ahno!nonpuotetardarliradelcielo,
lagiustiziatardar.Sentirgiparmi
lafatalesaetta,
cheglipiombasulcapo!Apertoveggio
ilbaratromortal!MiseraElvira!
Checontrastodaffetti,insentinasce!
Perchquestisospiri?equesteambascie?
Mitrad,quellalmaingrata,
Infelice,oDio,mifa.
Matraditaeabbandonata,
Provoancorperluipiet.
Quandosentoilmiotormento,
Divendettailcorfavella,
Maseguardoilsuocimento,
Palpitandoilcormiva.
(Parte.)

ScenaQuindicesima
Luogochiusoinformadisepolcreto,con
diversestatueequestri,tralequaliquelladel
Commendatore.DonGiovanni,poiLeporello.
DONGIOVANNI
(ridendoentrapelmuretto)
23.Ah,ah,ah,questabuona,
orlascialacercar;chebellanotte!
pichiaradelgiorno,sembrafatta
pergirazonzoacacciadiragazze.
tardi?
(guardandolorologio)
Oh,ancornonsono
duedellanotte;avrei

95010MozartCompleteEdition
188

vogliaunpodisapercomefinito
laffartraLeporelloeDonnaElvira,
seglihaavutogiudizio!
LEPORELLO
(Siaffacciaalmuretto)
Alfinvuolechiofacciaunprecipizio.
DONGIOVANNI
(desso.)Oh,Leporello!
LEPORELLO
(dalmuretto)
Chimichiama?
DONGIOVANNI
Nonconosciilpadron?
LEPORELLO
Cosnonconoscessi!
DONGIOVANNI
Come,birbo?
LEPORELLO
Ah,sietevoi?Scusate.
DONGIOVANNI
Cosastato?
LEPORELLO
Percagionvostraiofuiquasiaccoppato.
DONGIOVANNI
Ebben,noneraquesto
unonoreperte?
LEPORELLO
Signor,veldono.
DONGIOVANNI
Via,via,vienqua,
Chebellecosetideggiodir.
LEPORELLO
Macosafatequi?
DONGIOVANNI
Viendentroelosaprai:
diversestorielle
cheaccadutemisondachepartisti,
tidirunaltravolta:orlapibella
tivosolonarrar.
LEPORELLO
Donnescaalcerto.
(Rendeilcappelloeilmantello
alpadroneeriprende
quellicheavevacambiaticonlui.)
DONGIOVANNI
Cdubbio?Unafanciulla,
bella,giovin,galante,
perlastradaincontrai;levadoappresso,
laprendoperlaman,fuggirmivuole;
dicopocheparole,ellamipiglia,
saiperchi?
LEPORELLO
Nonloso.
DONGIOVANNI
PerLeporello.
LEPORELLO
Perme?
DONGIOVANNI
Perte.
LEPORELLO
Vabene.
DONGIOVANNI
Perlamano
essaalloramiprende.
LEPORELLO
Ancorameglio.
DONGIOVANNI
Maccarezza,miabbraccia:
CaroilmioLeporello!
Leporello,miocaro!Allor
maccorsi


cheraqualchetuabella.
LEPORELLO
(Ohmaledetto!)
DONGIOVANNI
Dellingannoapprofitto;nonsocome
miriconosce,grida;sentogente,
afuggiremimetto,eprontopronto
perquelmurettoinquestolocoiomonto.
LEPORELLO
Emiditelacosa
contantaindifferenza?
DONGIOVANNI
Perchno?
LEPORELLO
Masefossecosteistatamiamoglie?
DONGIOVANNI
(ridendoforte)
Meglioancora!
LASTATUA
Diriderfiniraipriadellaurora!
DONGIOVANNI
Chihaparlato?
LEPORELLO
(estremamenteimpaurito)
Ah!qualcheanima
sardellaltromondo,
cheviconosceafondo.
DONGIOVANNI:
Taci,sciocco!
Chival?
LASTATUA
Ribaldo,audace!
Lasciaamortilapace!
LEPORELLO
(tremando)
Velhodetto!
DONGIOVANNI
Saraqualcundifuori
chesiburladinoi!
(conindifferenzaesprezzo)
Ehi,delCommendatore
nonquestalastatua?Leggiunpoco
quellaiscrizion.
LEPORELLO
Scusate...
nonhoimparatoaleggere
airaggidellaluna.
DONGIOVANNI
Leggi,dico!
LEPORELLO
(leggendo)
Dellempiochemitrassealpasso
estremoquiattendolavendetta...
Udiste?Iotremo!
DONGIOVANNI
Ovecchiobuffonissimo!
Diglichequestasera
lattendoacenarmeco!
LEPORELLO
Chepazzia!Mavipar?...OhDei,mirate,
cheterribiliocchiateeglicid!
Parvivo!Parchesenta...
Echevogliaparlar!
DONGIOVANNI
Ors,val!
Oquitammazzo,epoitiseppellisco!
LEPORELLO
Piano,piano,signore,oraubbidisco.
Ostatuagentilissima
DelgranCommendatore...
Padron!Mitremailcore,

Nonpossoterminar!
DONGIOVANNI
Finiscila,onelpetto
Timettoquestoacciar!
LEPORELLO
Cheimpiccio,checapriccio!
DONGIOVANNI
Chegusto!Chespassetto!
LEPORELLO
Iosentomigelar!
DONGIOVANNI
Lovogliofartremar!

LEPORELLO
24.Ostatuagentillissima,
Benchdimarmosiate...
Ahpadronmio!Mirate!
Cheseguitaaguardar!
DONGIOVANNI
Mori...
LEPORELLO
No,no...attendete!
(allastatua)
Signor,ilpadronmio...
Badateben...nonio...
Vorriaconvoicenar...
Ahchescenaquesta!
(lastatuachinalatesta)
Ohciel!Chinlatesta!
DONGIOVANNI
Val,cheseiunbuffone!
LEPORELLO
Guardateancor,padrone!
DONGIOVANNI
Echedeggioguardar?
LEPORELLOEDONGIOVANNI
Collamarmoreatesta,
Eifacos,cos!
DONGIOVANNI
(versolastatua)
Parlate,sepotete.
Verreteacena?
LASTATUA
S!
DONGIOVANNI
Bizzarrainverlascena,
Verrilbuonvecchioacena.
Aprepararlaandiamo,
Partiamoviadiqua!
LEPORELLO
Movermipossoappena...
Mimanca,oDei,lalena...
Percarit...partiamo,
Andiamoviadiqua!

ScenaSedicesima
CameraincasadiDonnAnna.DonOttavioe
DonnAnna
DONOTTAVIO
25.Calmatevi,idolmio!Diquelribaldo
vedrempunitiinbreveigravieccessi,
vendicatisarem.
DONNAANNA
Mailpadre,oDio!
DONOTTAVIO
Convienchinareilciglio
alvoleredelciel.Respira,ocara!
Dituaperditaamara
fiadoman,sevuoi,dolcecompenso
questocor,questamano,
cheilmioteneroamor...

95010MozartCompleteEdition
189

DONNAANNA
Odei,chedite
instristimomenti?
DONOTTAVIO
Eche?Vorresti
coninduginovelliaccrescer
lemiepene?
Ah!Crudele!

DONNAANNA
26.Crudele?
Ahno,giammaimioben!Troppomispiace
allontanartiunbenchelungamente
lanostralmadesia...Mailmondo,oDio!
Nonsedurlacostanza
delsensibilmiocore;
ahbastanzapertemiparlaamore

27.Nonmidir,bellidolmio,
Chesoniocrudelconte.
Tubensaiquantiotamai,
Tuconoscilamiafe.
Calma,calmailtuotormento,
Sediduolnonvuoichiomora.
Forseungiornoilcieloancora
Sentirpietdime.
(Parte.)

DONOTTAVIO
28.Ahsiseguailsuopasso;iovoconlei
dividereimartiri.
Saranmecomengraviisuoisospiri

CD162
ScenaDiciassettesima
SalaincasadiDonGiovanni,conunamensa
preparata.DonGiovannieLeporello.Servi,
alcuniSuonatori.Unamensaimbandita.
DONGIOVANNI:
1.Gilamensapreparata.
Voisuonate,amicicari!
Giacchspendoimieidanari,
Iomivogliodivertir.
(Siedeamensa.)Leporello,prestointavola.
LEPORELLO
Sonprontissimoaservir.
(isuonatoricominciano.)
Bravi!Bravi!Cosarara!
(alludendoadunpezzodimusicanelloperaLa
cosarara)
DONGIOVANNI
Chetipardelbelconcerto?
LEPORELLO
conformealvostromerto.
DONGIOVANNI
(mangiando)
Ahchepiattosaporito!
LEPORELLO
(aparte)
(Ahchebarbaroappetito!
Chebocconidagigante!
Miparpropriodisvenir.)
DONGIOVANNI
(Nelvederimieibocconi
Gliparpropriodisvenir.)
Piatto!
LEPORELLO
(mutailpiatto)
Servo.
Evvivanoilitiganti.
(alludendoadaltroperadiquestotitolo)


DONGIOVANNI
Versailvino!
Eccellentemarzimino!
LEPORELLO
(mangiandoebevendodinascosto):
(Questopezzodifagiano,
Pianopianovoinghiottir.)
DonGiovanni
(Stamangiando,quelmarrano!
Fingerdinoncapir.)
LEPORELLO
(aisuonatorichedinuovocangianomotivo)
Questapoilaconoscopurtroppo.
DONGIOVANNI
(senzaguardarlo)
Leporello!
LEPORELLO
(colbocconingola)
Padronmio!
DONGIOVANNI
Parlaschietto,mascalzone.
LEPORELLO
Nonmilasciaunaflussione
Leparoleproferir.
DONGIOVANNI
Mentreiomangiofischiaunpoco.
LEPORELLO
nonsofar.
DONGIOVANNI
(accorgendosichemangia)
Cos?
LEPORELLO
Scusate!
Seccellenteilvostrocuoco,
Chelovollianchioprovar.
DONGIOVANNI
(Seccellenteilcuocomio,
Chelovolleancheiprovar.)

ScenaDiciottesima
DonnaElviraedetti.
DONNAELVIRA
(antrandodisperata)
Lultimaprova
dellamormio
Ancorvoglio
fareconte.
Pinonrammento
glingannituoi,
Pietadeiosento.
DONGIOVANNIELEPORELLO
Cos?
DONNAELVIRA
(singinocchia)
Datenonchiede
questalmaoppressa
Dellasuafede
qualchemerce.
DONGIOVANNI
Mimaraviglio!
Cosavolete?
(Perbeffarlasinginocchia)
Senonsorgetenonrestoinpie.
DONNAELVIRA
Ahnonderidere
gliaffanimiei!
LEPORELLO
(Quasidapiangere
mifacostei.)
DONGIOVANNI
(alzandosiefacendoalzareDonnaElvira)

Iotederidere!
Cielo,eperch?
(conaffettatatenerezza)
Chevuoi,miobene!
DONNAELVIRA
Chevitacangi!
DONGIOVANNI
(beffandola)
Brava!
DONNAELVIRA
Corperfido!
DONGIOVANNI
Lasciachiomangi,
Esetipiace,
mangiaconme.
DONNAELVIRA
Rstati,barbaro!
Nellezzoimmondo
Esempioorribile
dinquinit!
(Parte.)
LEPORELLO
(Senonsimuove
alsuodolore,
Disassohailcore,
ocornonha.)
DONGIOVANNI
Vivanlefemmine,
Vivailbuonvino!
Sostegnoegloria
dumanit!
DONNAELVIRA
Ah!
(Didentro:poirientra,traversal
ascenafuggendo,esce
daunaltraparte.)
DONGIOVANNIELEPORELLO
Chegridoquestomai?
DONGIOVANNI
Vaavederchecosastato.
(Leporelloesce.)
LEPORELLO
Ah!
DONGIOVANNI
Chegridoindiavolato!
Leporello,checos?
LEPORELLO
(entraspaventatoechiudeluscio)
Ah,signor,percarit!
Nonandatefuordiqua!
Luomdisasso,luomobianco,
Ahpadrone!Iogelo,iomanco.
Sevedestechefigura,
sesentistecomefa
Ta!Ta!Ta!Ta!
(imitandoipassidelCommendatore.)
DONGIOVANNI
Noncapisconienteaffatto.
Tuseimattoinverit.
(Sibatteallaporta.)
LEPORELLO
Ahsentite!
DONGIOVANNI
Qualcunbatte!
Apri!
LEPORELLO
(tremando)
Iotremo!
DONGIOVANNI
Apri,dico!

95010MozartCompleteEdition
190

LEPORELLO
Ah!
DONGIOVANNI
Pertogliermidintrico
Adapririostessoandr.
(Prendeillumeelaspada
sguainataavaadaprire.)
LEPORELLO
(Nonvopivederlamico
Pianpianinmasconder.)
(Sicelasottolatavola.)

ScenaDiciannovesima
IlConvitatodiPietraedetti
LASTATUA
2.DonGiovanni,acenarteco
Minvitastiesonvenuto!
DONGIOVANNI
Nonlavreigiammaicreduto;
Mafarquelchepotr.
Leporello,unaltracena
Fachesubitosiporti!
LEPORELLO
(facendocapolinodisotto
allatavola)
Ahpadron!Siamtuttimorti.
DONGIOVANNI
(tirandolofuori)
Vannedico!
LASTATUA
(aLeporellocheinattodiparlare)
Fermaunpo!
Nonsipascedicibomortale
chisipascediciboceleste;
Altracurepigravidiqueste,
Altrabramaquaggimiguid!
LEPORELLO
(Laterzanadaveremisembra
Elemembrafermarpinonso.)
DONGIOVANNI
Parladunque!Chechiedi!Chevuoi?
LASTATUA
Parlo;ascolta!Pitempononho!
DONGIOVANNI
Parla,parla,ascoltandotisto.
LASTATUA
Tuminvitastiacena,
Iltuodoverorsai.
Rispondimi:verrai
tuacenarmeco?
LEPORELLO
(dalontano,sempretremando)
Oib;
tempononha,scusate.
DONGIOVANNI
Atortodiviltate
Tacciatomaisar.
LASTATUA
Risolvi!
DONGIOVANNI
Hogirisolto!
LASTATUA
Verrai?
LEPORELLO
(aDonGiovanni)
Ditedino!
DONGIOVANNI
Hofermoilcuoreinpetto:
Nonhotimor:verr!
LASTATUA
Dammilamanoinpegno!


DONGIOVANNI
(porgendoglilamano)
Eccola!Ohim!
LASTATUA
Coshai?
DONGIOVANNI
Chegeloquestomai?
LASTATUA
Pentiti,cangiavita
lultimomomento!
DONGIOVANNI
(vuolscoigliersi,mainvano)
No,no,chiononmipento,
Vannelontandame!
LASTATUA
Pentiti,scellerato!
DONGIOVANNI
No,vecchioinfatuato!
LASTATUA
Pentiti!
DONGIOVANNI
No!
LASTATUA
S!
DONGIOVANNI
No!
LASTATUA
Ah!tempopinonv!
(Fuocodadiverseparti,il
Commendatoresparisce,esapre
unavoragine.)
DONGIOVANNI
Daqualtremoreinsolito
Sentoassalirglispiriti!
Dondesconoqueivortici
Difocopiendorror?
CORODIDIAVOLI
(disotterra,convocicupe)
Tuttoatuecolpepoco!
Vieni,cunmalpeggior!
DONGIOVANNI
Chilanimamilacera?
Chimagitaleviscere?
Chestrazio,ohim,chesmania!
Cheinferno,cheterror!
LEPORELLO
(Checeffodisperato!
Chegestidadannato!
Chegridi,chelamenti!
Comemifaterror!)
(Cresceilfuoco,compariscono
diversefurie,simpossessano
diDonGiovanniesecolui
sprofondano.)

ScenaUltima
Leporello,DonnaElvira,DonnAnna,Zerlina,
DonOttavio,Masetto,conministridigiustizia.
DONNAELVIRA,ZERLINA,DONOTTAVIOE
MASETTO
3.Ah,dovilperfido?
Dovlindegno?
Tuttoilmiosdegno
Sfogariovo!
DonnaAnna
Solomirandolo
Strettoincatene
Allemiepene
Calmadar.
Leporello
Pinonsperate

Diritrovarlo,
Pinoncercate.
Lontanoand.
TUTTI
Cos?Favella!Viapresto,sbrigati!
LEPORELLO
Venneuncolosso...Masenonposso...
Trafumoefuoco...Badateunpoco...
Luomodisasso...Fermateilpasso...Giustol
sotto...Diedeilgranbotto...Giustolildiavolo
Seltrangugi.
TUTTI
Stelle,chesento!
LEPORELLO
Verolevento!
DONNAELVIRA
Ah,certolombra
Chemincontr.
DONNAANNA,ZERLINA,DONOTTAVIOE
MASETTO
Ah,certolombra
Chelincontr.
DONOTTAVIO
Orchetutti,omiotesoro,
Vendicatisiamdalcielo,
Porgi,porgiameunristoro,
Nonmifarlanguireancor.
DONNAANNA
Lascia,ocaro,unannoancora
Allosfogodelmiocor.
DONOTTAVIO
Aldesiodichimadora
Cederdeveunfidoamor.
DONNAANNA
Aldesiodichitadora
Cederdeveunfidoamor.
DONNAELVIRA
Iomenvadoinunritiro
Afinirlavitamia!
ZERLINA
Noi,Masetto,acasaandiamo!
Acenarincompagnia!
MASETTO
Noi,Zerlina,acasaandiamo!
Acenarincompagnia!
LEPORELLO
Ediovadoallosteria
Atrovarpadronmiglior.
Zerlina,MasettoeLeporello
Restidunquequelbirbon
ConProserpinaePluton.
Enoitutti,obuonagente,
Ripetiamallegramente
Lantichissimacanzon:
TUTTI
Questoilfindichifamal;
Edeperfidilamorte
Allavitasempreugual.

COSFANTUTTE(CD163165)
AttoPrimo
1.Overture
Scenaprima
Bottegadicaff.Ferrando,GuglielmoeDon
Alfonso
2.No.1Terzetto
FERRANDO
LamiaDorabella
Capacenon:
Fedelquantobella

95010MozartCompleteEdition
191

Ilcielolaf.
GUGLIELMO
LamiaFiordiligi
Tradirminonsa:
Ugualeinleicredo
Costanzaebelt.
DONALFONSO
Hoicrinigigrigi,
Excathedraparlo;
Matalilitigi
Finiscanoqua.
FERRANDOe
GUGLIELMO
No,dettociavete
Cheinfideesser
ponno;
Provarceldovete,
Seaveteonest.
DONALFONSO
Taiprovelasciamo...
FERRANDOe
GUGLIELMO
No,no,levogliamo:
O,fuorilaspada,
Rompiamlamist.
(Mettonmano
allaspada)
FERRANDOe
GUGLIELMO
(fras)
Sulvivomitocca
chilasciadibocca
sortireunaccento
chetortolefa.
DONALFONSO
(fras)
Opazzodesire!
Cercardiscoprire
Quelmalche,
trovato,
Meschinicifa.
FERRANDOeGUGLIELMO
Fuorlaspada!
Scegliete
Qualdinoipi
vipiace.
DONALFONSO
(placido)
Iosonuomo
dipace,
Eduellinonfo,
senonamensa.
FERRANDO
Obattervi,
odirsubito
Perchdinfedelt
lenostreamanti
Sospettatecapaci!
DONALFONSO
Carasemplicit,
quantomi
piaci!
FERRANDO
Cessatedischerzar,
ogiuroalcielo!...
DONALFONSO
Edio,giuro
allaterra,
Nonscherzo,
amicimiei;
Solosaper


vorrei
Cherazzadi
animali
Sonquestebelle,
Sehancome
tuttinoicarne,
ossaepelle,
Semangiancome
noi,seveston
gonne,
Alfin,seDee,se
donneson...
FERRANDOeGUGLIELMO
Sondonne,
Ma...sontali,
sontali...
DONALFONSO
Eindonne
pretendete
Ditrovar
fedelt?
Quantomipiaci
mai,semplicit!

3.No.2Terzetto
DONALFONSO
(scherzando)
Elafededelle
femmine
Comelarabafenice:
Chevisia,ciascun
lodice;
Dovesia,nessun
losa.
FERRANDO
(confuoco)
Lafenice
Dorabella!
GUGLIELMO
Lafenice
Fiordiligi!
DONALFONSO
Nonquesta,
nonquella:
Nonfumai,non
visar.
Elafededelle
femmine
Comelarabafenice:
Chevisia,ciascun
lodice;
Dovesia,nessun
losa.
FERRANDO
Scioccheriedi
poeti!
GUGLIELMO
Scempiagginidi
vecchi!
DONALFONSO
Orbene;udite,
Masenzaandare
incollera:
Qualprovaavetevoi
cheognorcostanti
Visienlevostre
amanti;
Chivifesicurt
cheinvariabili
Sonoilorcori?

FERRANDO
Lungaesperienza...
GUGLIELMO
Nobileducazion...
FERRANDO
Pensarsublime...
GUGLIELMO
Analogia
dumor...
FERRANDO
Disinteresse...
GUGLIELMO
Immutabil
carattere...
FERRANDO
Promesse...
GUGLIELMO
Proteste...
FERRANDO
Giuramenti...
DONALFONSO
Pianti,sospir,
carezze,svenimenti.
Lasciatemiunpo
ridere...
FERRANDO
Cospetto!
Finitedi
deriderci?
DONALFONSO
Pianpiano:
Esetoccar
conmano
Oggivifoche
comelaltresono?
GUGLIELMO
Nonsipudar!
FERRANDO
Non!
DONALFONSO
Giochiam!
FERRANDO
Giochiamo.
DONALFONSO
Centozecchini.
GUGLIELMO
Emillesevolete.
DONALFONSO
Parola...
FERRANDO
Parolissima.
DONALFONSO
Euncenno,un
motto,ungesto
Giuratedinonfar
dituttoquesto
Allevostre
Penelopi.
FERRANDO
Giuriamo.
DONALFONSO
Dasoldatidonore?
GUGLIELMO
Dasoldatidonore.
DONALFONSO
Etuttoquelfarete
Chiovidir
difar?
FERRANDO
Tutto.

95010MozartCompleteEdition
192

GUGLIELMO
Tuttissimo.
DONALFONSO
Bravissimi!
FERRANDOe
GUGLIELMO
Bravissimo,
SignorDon
Alfonsetto!
FERRANDO
Aspesevostreorci
divertiremo.
GUGLIELMO
(aFERRANDO)
Edecentozecchini,
chefaremo?

4.No.3Terzetto
FERRANDO
Unabellaserenata
Fariovoglioalla
miaDea.
GUGLIELMO
InonordiCiterea
Unconvitoio
vogliofar.
DONALFONSO
Saranchiode
convitati?
FERRANDOe
GUGLIELMO
Cisarete,ssignor.
FERRANDO,
GUGLIELMOe
DONALFONSO
Echebrindisi
replicati
Farvogliamoal
Diodamor!
(partono)

Scenaseconda
Giardinosullaspiaggiadelmare.
FIORDILIGIeDORABELLA
(guardanoun
ritrattochelorpende
dalfianco)

5.No.4Duetto
FIORDILIGI
Ah,guarda,sorella,
Seboccapibella,
Sepettopinobile
Sipuritrovar.
DORABELLA
Osservatuun
poco,
Chefuocoha
nesguardi!
Sefiamma,se
dardi
Nonsembran
scoccar.
FIORDILIGI
Sivedeun
sembiante
Guerrieroed
amante.
DORABELLA
Sivedeunafaccia


Cheallettae
minaccia.
FIORDILIGI
Iosonofelice.
DORABELLA
Felicesonio.
FIORDILIGIe
DORABELLA
Sequestomiocore
Maicangiadesio,
Amoremifaccia
Vivendopenar.
FIORDILIGI
Miparche
stamattina
volentieri
Fareilapazzarella:
houncertofoco,
Uncertopizzicor
entrolevene...
Quando
GUGLIELMO
viene...sesapessi
Cheburla
glivofar!
DORABELLA
Perdirtiilvero,
Qualchecosa
dinuovo
Anchionellalma
provo:iogiurerei
Chelontanenon
siamdagliimenei.
FIORDILIGI
Dammilamano:io
voglioastrologarti.
Uh,chebellEmme!
Equesto
unPi!Vabene:
matrimonio
presto.
DORABELLA
Affcheciavrei
gusto!
FIORDILIGI
Ediononci
avreirabbia.
DORABELLA
Machediavolvuol
dircheinostri
sposi
Ritardanoavenir?
Songilesei.
FIORDILIGI
Eccoli.

Scenaterza
LesuddetteeDonAlfonso.
FIORDILIGI
Nonsonessi:
DonAlfonso,
Lamicolor.
DORABELLA
Benvenga
IlsignorDon
Alfonso!
DONALFONSO
Riveriscoz.
FIORDILIGI
Cos?Perchqui
solo?Voipiangete?

Parlate,perpiet:
checosanato?
Lamante...
DORABELLA
Lidolmio...
DONALFONSO
Barbarofato!

6.No.5Aria
DONALFONSO
Vorreidir,ecor
nonho,
Balbettando
illabbrova.
Fuorlavoce
uscirnonpu,
Mamiresta
mezzaqua.
Chefarete?
Chefar?
Oh,chegran
fatalit!
Dardipeggio
nonsipu,
Hodivoi,di
lorpiet.
FIORDILIGI
Stelle!Percarit,
signorAlfonso,
Noncifatemorir.
DONALFONSO
Convienarmarvi,
Figliemie,di
costanza.
DORABELLA
OhDei!Qualmale
addivenutomai,
qualcasorio?
Forsemorto
ilmiobene?
FIORDILIGI
Emortoilmio?
DONALFONSO
Morti...nonson,
mapocomen
chemorti.
DORABELLA
Feriti?
DONALFONSO
No.
FIORDILIGI
Ammalati?
DONALFONSO
Neppur.
FIORDILIGI
Checosa,
dunque?
DONALFONSO
Almarzialcampo
Ordinregioli
chiama.
FIORDILIGIe
DORABELLA
Ohim,chesento!
FIORDILIGI
Epartiran?
DONALFONSO
Sulfatto.
DORABELLA
Enonvmodo
dimpedirlo?

95010MozartCompleteEdition
193

DONALFONSO
Nonv.
FIORDILIGI
Nunsolo
addio?...
DONALFONSO
Glinfelici
nonhanno
Coraggiodi
vedervi.
Masevoilo
bramate,
Sonpronti...
DORABELLA
Doveson?
DONALFONSO
Amici,entrate.

Scenaquarta
Fiordiligi,
Dorabella,
DonAlfonso.
FERRANDOeGUGLIELMO
inabitoda
viaggio.

7.No.6Quintetto
GUGLIELMO
Sento,oddio,
chequestopiede
restionel
girleavante.
FERRANDO
Ilmiolabbro
palpitante
Nonpudetto
pronunziar.
DONALFONSO
Neimomenti
piterribili
Suavirtleroe
palesa.
FIORDILIGIeDORABELLA
Orcheabbiamla
nuovaintesa,
Avoirestaa
fareilmeno;
Fatecore:a
entrambeinseno
Immergeteci
lacciar.
FERRANDOeGUGLIELMO
Idolmio,lasorte
incolpa
Setideggio
abbandonar.
DORABELLA
(aFERRANDO)
Ah,no,no,non
partirai!
FIORDILIGI
(aGUGLIELMO)
No,crudel,nonte
nandrai!
DORABELLA
Vogliopria
cavarmiilcore!
FIORDILIGI
Priativomorire
aipiedi!


FERRANDO
(sottovocea
DONALFONSO)
Cosadici?
GUGLIELMO
(sottovocea
DONALFONSO)
Tenavvedi?
DONALFONSO
(sottovoceai
dueamanti)
Saldo,amico:
finemlauda.
TUTTI
Ildestincos
defrauda
Lesperanze
demortali.
Ah,chimaifra
tantimali,
Chimaipu
lavitaamar?
GUGLIELMO
Nonpiangere,
idolmio!
FERRANDO
Nondisperarti,
Adoratamiasposa!
DONALFONSO
Lasciatelor
talsfogo.
troppogiusta
Lacagiondi
quelpianto.
(siabbracciano
teneramente)
FIORDILIGI
Chisasiopi
tiveggio!
DORABELLA
Chisasepiritorni!
FIORDILIGI
Lasciamiquesto
ferro:eimi
diamorte,
Semaibarbara
sorte
Inquelseno
amecaro...
DORABELLA
Morreididuol;
duopononho
dacciaro.
FERRANDOe
GUGLIELMO
Nonfarmi,
animamia,
Questinfausti
presagi!
ProteggerangliDei
Lapacedeltuocor
negiornimiei.

8.No.7Duettino
FERRANDOeGUGLIELMO
Alfatodanlegge
Quegliocchi
vezzosi:
Amorliprotegge,
Nilororiposi
Lebarbarestelle

Ardisconturbar.
Ilcigliosereno,
Miobene,amegira:
Felicealtuoseno
Iosperotornar.
DONALFONSO
(fras)
Lacommedia
graziosa,etuttidue
Fanbenlaloro
parte.
(Sisenteuntamburo
indistanza)
FERRANDO
Ohcielo!Questo
iltamburo
funesto
Cheadividermi
viendalmiotesoro.
DONALFONSO
Ecco,amici,
labarca.
FIORDILIGI
Iomanco.
DORABELLA
Iomoro.

Scenaquinta
Fiordiligi,
Dorabella,
DonAlfonso,
Ferrando,
Guglielmo,
soldatie
popolani.
(Marciamilitareinqualchedistanza.Arrivauna
barcaallasponda;poientranellascenauna
truppadisoldati,accompagnatada
uominiedonne)

9.No.8CORO,SOLDATIePOPOLANI
Bellavitamilitar!
Ognidsi
cangialoco;
Oggimolto,
domanpoco,
Orainterra
edorsulmar.
Ilfragorditrombe
epifferi,
Losparardi
schioppiebombe,
Forzaaccresceal
braccioeallanima
Vagasolditrionfar.
Bellavitamilitar!
DONALFONSO
Nonvpi
tempo,amici:
andarconviene
Oveildestino,anzi
ildover,vinvita.
FIORDILIGI
Miocor...
DORABELLA
Idolomio...
FERRANDO
Mioben...
GUGLIELMO
Miavita...

95010MozartCompleteEdition
194

FIORDILIGI
Ah,perunsol
momento...
DONALFONSO
Delvostro
reggimento
Gipartita
labarca;
Raggiungerla
conviencoi
pochiamici
Chesulegno
pilieve
Attendendo
vistanno.
FERRANDOe
GUGLIELMO
Abbracciami,
idolmio.
FIORDILIGIe
DORABELLA
Muoiodaffanno.

10.No.9Quintetto
FIORDILIGI
(piangendo)
Discrivermi
ognigiorno
Giurami,vitamia!
DORABELLA
(piangendo)
Duevolteancora
Tuscrivimi,sepuoi.
FERRANDO
Siicerta,ocara.
GUGLIELMO
Nondubitar,
miobene.
DONALFONSO
(fras)
Iocrepo,se
nonrido!
FIORDILIGI
Siicostante
amesol...
DORABELLA
Serbatifido.
FERRANDO
Addio.
GUGLIELMO
Addio.
FIORDILIGIe
DORABELLA
Addio.
FIORDILIGI,
DORABELLA,
FERRANDOe
GUGLIELMO
Misidivideilcor,
bellidolmio!
Addio!Addio!
Addio!
SOLDATIe
POPOLANI
Bellavitamilitar!
Ecc.
(mentresiripeteil
coro,Ferrandoe
Guglielmoentrano
nellabarcachepoi
sallontanatrasuon


ditamburiecc.I
soldatipartono
seguitidagliuomini
edalledonne.Le
amantirestano
immobilisulla
spondadelmare)

Scenasesta
Fiordiligi,DorabellaedonAlfonso.
DORABELLA
(inattodichi
rinvienedaun
letargo)
Doveson?
DONALFONSO
Sonpartiti.
FIORDILIGI
Ohdipartenza
Crudelissima,
amara!
DONALFONSO
Fatecore,
Carissimefigliuole.
(Facendomotocol
fazzoletto)
Guardate:
dalontano
Vifancennocon
manoicarisposi.
FIORDILIGI
(salutando)
Buonviaggio,
miavita!
DORABELLA
(salutando)
Buonviaggio!
FIORDILIGI
OhDei!
Comeveloce
Senevaquella
barca!Gisparisce,
Ginonsivedepi.
Deh,facciailcielo
Chabbiaprospero
corso.
DORABELLA
Facciacheal
campogiunga
Confortunati
auspici.
DONALFONSO
Eavoisalvigli
amanti,ame
gliamici.

11.No.10Terzettino
FIORDILIGI,DORABELLAeDONALFONSO
Soavesiailvento,
Tranquillasia
londa,
Edognielemento
Benignorisponda
Ainostri/
vostridesir.
(partonole
duedonne)

Scenasettima
DonAlfonsosolo.
DONALFONSO

Nonsoncattivo
comico!vabene...
Alconcertatoloco
iduecampioni
DiCiprignae
diMarte
Mistaranno
attendendo:or
senzaindugio
Raggiungerli
conviene.
Quantesmorfie,
Quantebuffonerie!
Tantomeglio
perme...
Cadranpi
facilmente:
Questarazzadi
gentelapipresta
Acangiarsi
dumore.Oh,
poverini!
Perfemmina
giocarcento
zecchini?
Nelmaresolcae
nellarenasemina
Eilvagovento
sperainrete
accogliere
Chifondasue
speranzeincor
difemmina.

Scenaottava
Cameragentilecondiversesedie,untavolino,
ecc.;treporte:duelaterali,unadimezzo.
Despinasola.
DESPINA
(frullandoil
cioccolatte)
Chevitamaledetta
ilfarlacameriera!
Dalmattino
allasera
Sifa,sisuda,si
lavora,epoi
Ditantochesi
fanullapernoi.
mezzaorache
sbatto;
Ilcioccolatte
fatto,edametocca
Restaradodorarlo
aseccabocca?
Nonforselamia
comelavostra,
Ogarbatesignore,
Cheavoidssi
lessenza,ea
melodore?
PerBacco,vo
assaggiarlo:
cospettaccio!
Combuono!
(Siforbelabocca)
Viengente.
Ohciel,son
lepadrone!

95010MozartCompleteEdition
195

Scenanona
Despina.FiordiligieDorabellachentrano
disperatamente.
DESPINA
(presentandoilcioccolattesoprauna
guantiera)
Madame,eccola
vostracolazione.
(Dorabellagittatuttoaterra)
Diamine,
cosafate?
FIORDILIGI
Ah!
DORABELLA
Ah!
(Sicavano
entrambetutti
gliornamenti
donneschiecc)
DESPINA
Checosanato?
FIORDILIGI
Ovunacciaro?
DORABELLA
Unvelenodov?
DESPINA
Padrone,dico!...

12.DORABELLA
Ah,scostati!Paventa
iltristoeffetto
Dundisperato
affetto:
Chiudiquelle
finestre...
Odiolaluce,
Odiolariache
spiro...odiome
stessa,
Chischernisce
ilmioduol,chi
miconsola.
Deh,fuggiperpiet,
lasciamisola!
No.11Aria
DORABELLA
Smanieimplacabili
Chemagitate,
Entroquestanima
Pinoncessate
Finchelangoscia
Mifamorir.
Esempiomisero
Damorfunesto
DarallEumenidi,
Sevivaresto,
Colsuonoorribile
Demieisospir.
DESPINA
SignoraDorabella,
SignoraFiordiligi,
Ditemi:checos
stato?
DORABELLA
Oh,terribil
disgrazia!
DESPINA
Sbrigateviin
buonora.
FIORDILIGI
DaNapolipartiti


Sonogliamanti
nostri.
DESPINA
(ridendo)
Noncaltro?
Ritorneran.
DORABELLA
Chisa!
DESPINA
(comesopra)
Come,chisa?
Dovesoniti?
DORABELLA
Alcampodi
battaglia.
DESPINA
Tantomeglio
perloro:
Livedretetornar
carchidalloro.
FIORDILIGI
Maponno
ancheperir.
DESPINA
Allora,poi,
Tantomeglio
pervoi.
FIORDILIGI
(sorgearrabbiata)
Sciocca,chedici?
DESPINA
Lapuraverit:
dueneperdete,
Virestantutti
glialtri.
FIORDILIGI
Ah,perdendo
GUGLIELMO
Miparechio
morrei!
DORABELLA
Ah,Ferrando
perdendo
Miparchevivaa
seppellirmi
andrei!
DESPINA
Brave,vipar,ma
nonver:ancora
Nonvifudonna
chedamor
siamorta.
Perunuomo
morir!...Altri
venhanno
Checompensano
ildanno.
DORABELLA
Ecredichepotria
Altruomamarchi
sebbeperamante
UnGuglielmo,
unFerrando?
DESPINA
Hanglialtri
ancora
Tuttoquello
chhannoessi.
Unuomadesso
amate,
Unaltronamerete:

unovallaltro,
Perchnessun
valnulla.
Manonparliamdi
ci;sonoancorvivi
Evivitorneran;
masonlontani,
Epiuttostoche
invani
Piantiperdere
iltempo,
Pensatea
divertirvi.
FIORDILIGI
(contrasportodi
collera)
Divertirci?
DESPINA
Sicuro!E,quel
chmeglio,
Farallamorcome
assassine,ecome
Farannoalcampo
ivostricariamanti.
DORABELLA
Nonoffendercos
quellalmebelle,
Difedelt,dintatto
amoreesempi.
DESPINA
Via,via!
Passaroitempi
Daspacciarqueste
favoleaibambini.

13.No.12Aria
DESPINA
Inuomini,
insoldati
Sperarefedelt?
(ridendo)
Nonvifate
sentir,percarit!
Dipastasimile
Sontuttiquanti:
Lefrondemobili,
Laureincostanti
Hanpide
gliuomini
Stabilit.
Mentitelagrime,
Fallacisguardi,
Vociingannevoli,
Vezzibugiardi,
Sonleprimarie
Lorqualit.
Innoinonamano
Cheillordiletto;
Poicidispregiano,
Neganciaffetto,
Nvalda
barbari
Chiederpiet.
Paghiam,
ofemmine,
Dugualmoneta
Questamalefica
Razzaindiscreta;
Amiamper
comodo,
Pervanit!

95010MozartCompleteEdition
196

Larala,lara
la,larala,la.
(partono)

Scenadecima
DONALFONSO
solo;poi
Despina.
DONALFONSO
Chesilenzio!Che
aspettoditristezza
Spiranoqueste
stanze.Poverette!
Nonhangitutto
iltorto:
Bisognaconsolarle;
infinchevanno
Iduecredulisposi,
Comioloro
commisi,a
mascherarsi,
Pensiamcosa
pufarsi...
Temounpo
perDespina:
quellafurba
Potrebbe
riconoscerli;
potrebbe
Rovesciarmi
lemacchine.
Vedremo...
Semaifarbisogno,
Unregaletto
atempo:un
zecchinetto
Perunacameriera
ungranscongiuro.
Ma,peressersicuro,
sipotria
Metterlainpartea
partedelsegreto...
Eccellenteil
progetto...
Lasuacamera
questa.
(batte)
Despinetta!
DESPINA
Chibatte?
DONALFONSO
Oh!
DESPINA
Ih!
(Escedallasua
stanza)
DONALFONSO
Despinamia,dite
Bisognoavrei.
DESPINA
Edioniente
dilei.
DONALFONSO
Tivofaredelben.
DESPINA
Aunafanciulla
Unvecchiocomelei
nonpufarnulla.
DONALFONSO
(mostrandoleuna
monetadoro)


Parlapiano,ed
osserva.
DESPINA
Meladona?
DONALFONSO
S,semecosei
buona.
DESPINA
Echevorebbe?
loroilmio
giulebbe.
DONALFONSO
Edoroavrai;
Macivuolfedelt.
DESPINA
Noncaltro?
Sonqua.
DONALFONSO
Prendiedascolta.
Saicheletue
padrone
Hanperdutigli
amanti.
DESPINA
Loso.
DONALFONSO
Tuttiilorpianti,
Tuttiideliriloro
ancotusai.
DESPINA
Sotutto.
DONALFONSO
Orben,semai
Perconsolarle
unpoco
Etrar,comediciam,
chiodoperchiodo,
Turitrovassi
ilmodo
Dametterin
lorgrazia
Duesoggetti
digarbo
Chevorrieno
provar...gi
micapisci...
Cunamanciaper
tediventiscudi,
Selifairiuscir.
DESPINA
Nonmidispiace
Questa
proposizione.
Maconquelle
buffone...
basta,udite:
Songiovani?Son
belli?E,sopratutto,
Hannouna
buonaborsa
Ivostriconcorrenti?
DONALFONSO
Hantuttoquello
Chepiacerpualle
donnedigiudizio.
Livuoiveder?
DESPINA
Edoveson?
DONALFONSO
Sonl.
Lipossofarentrar?

DESPINA
Direidis.
(DonAlfonsofa
entrargliamanti,
chesontravestiti)

Scenaundicesima
DonAlfonso,Despina,FerrandoeGuglielmo;
poiFiordiligieDorabella.
14.No.13Sestetto
DONALFONSO
Allabella
Despinetta
Vipresento,
amicimiei;
Nondipende
chedalei
Consolaril
vostrocor.
FERRANDOeGUGLIELMO
Perlaman,che
lietoiobacio,
Perqueiraidi
graziapieni,
Fachevolga
amesereni
Ibegliocchi
ilmiotesor.
DESPINA
(fras,ridendo)
Chesembianze!
Chevestiti!
Chefigure!Che
mustacchi!
Iononsose
sonValacchi
OseTurchi
soncostor.
DONALFONSO
(sottovocea
Despina)
Chetipardi
quellaspetto?
DESPINA
(sottovocea
DonAlfonso)
Perparlarvi
schiettoschietto,
Hannounmuso
fuordelluso,
Veroantidoto
damor.
FERRANDO,GUGLIELMOeDONALFONSO
(fras)
Orlacosa
appiendecisa;
Secosteinon
li/ciravvisa
Noncpi
nessuntimor.
DESPINA
(fras,ridendo)
Chefigure!Che
mustacchi!
Iononsose
sonValacchi
OseTurchi
soncostor.
FIORDILIGIe
DORABELLA
(didentro)

95010MozartCompleteEdition
197

Eh,Despina!
Ol,Despina!
DESPINA
Lepadrone!
DONALFONSO
(aDespina)
Eccolistante!
Faconarte;io
quimascondo.
(Siritira)
FIORDILIGIe
DORABELLA
(entrando)
Ragazzaccia
tracotante,
Chefailcon
similgente?
Falliuscire
immantinente,
Otifopentir
conlor.
DESPINA,FERRANDOeGUGLIELMO
(Tuttietre
singinocchiano)
Ah,madame,
perdonate!
Albelpilanguir
mirate
Duemeschin,di
vostromerto
Spasimanti
adorator.
FIORDILIGIeDORABELLA
GiustiNumi!Cosa
sento?
Dellenorme
tradimento
Chifumai
lindegnoautor?
DESPINA,
FERRANDOe
GUGLIELMO
Deh,calmante
quellosdegno!
FIORDILIGIe
DORABELLA
Ah,chepi
nonhoritegno!
Tuttapienaho
lalmainpetto
Didispettoedi
furor!
DESPINAe
DONALFONSO
(fras,DonAlfonso
dallaporta)
Midunpoco
disospetto
Quellarabbia
equelfuror!
FERRANDOe
GUGLIELMO
(fras)
Qualdilettoa
questopetto
Quellarabbiae
quelfuror!
FIORDILIGIe
DORABELLA
(fras)
Ah,perdon,


miobeldiletto!
Innocente
questocor.
DONALFONSO
(dallaporta)
Chesussurro!
chestrepito!
Chescompiglio
maiquesto!
Sietepazze,
Carelemieragazze?
Voletesollevar
ilvicinato?
Cosavete?Ch
nato?
DORABELLA
(confurore)
Oh,ciel!Mirate:
Uominiincasa
nostra?
DONALFONSO
(senzaguardarli)
Chemalec?
FIORDILIGI
(confuoco)
Chemale?
Inquestogiorno!...
Dopoilcaso
funesto!...
DONALFONSO
Stelle!Sognooson
desto?Amicimiei,
Mieidolcissimi
amici!
Voiqui?Come?
perch?quando?
inqualmodo?
Numi!Quanto
negodo!
(sottovoce)
Secondatemi
FERRANDO
Amico
DonAlfonso!
GUGLIELMO
Amicocaro!
(Siabbracciano
contrasporto)
15
DONALFONSO
Ohlabella
improvvisata!
DESPINA
(aDonAlfonso)
Liconoscetevoi?
DONALFONSO
Seliconosco!
Questi
Sonoipidolci
amici
Chiomaiabbiain
questomondo,
Eivostriancor
saranno.
FIORDILIGI
Eincasamiache
fanno?
GUGLIELMO
Aivostripiedi
Duerei,due
delinquenti,

eccomadame!
Amor...
DORABELLA
Numi,che
sento!
FERRANDO
Amor,ilNume...
Spossentepervoi
quiciconduce...
(ledonnesiritirano,
essileinseguono)
GUGLIELMO
...Vistaappena
laluce
Divostre
fulgidissime
pupille...
FERRANDO
...Chealle
vivefaville...
GUGLIELMO
...Farfallette
amorosee
agonizzanti...
FERRANDO
...Vivoliamo
davanti...
GUGLIELMO
...Edailati,eda
retro...
FERRANDOe
GUGLIELMO
...perimplorar
pietadeinflebil
metro
FIORDILIGI
Stelle!Cheardir!
DORABELLA
Sorella,che
facciamo?

15.FIORDILIGI
Temerari,sortite
(Despinaesce
impaurita)
Fuoridiquesto
loco,enonprofani
Lalitoinfaustodegli
infamidetti
Nostrocor,nostro
orecchioe
nostriaffetti!
Invanpervoi,per
glialtriinvan
sicerca
Lenostralmesedur:
Iintattafede
Chepernoigisi
diedeaicariamanti,
Sapremloroserbar
infinoamorte,
Adispettodel
mondoedellasorte.
No.14Aria
FIORDILIGI
Comescoglio
immotoresta
Controiventi
elatempesta,
Cosognor
questalmaforte

95010MozartCompleteEdition
198

Nellafedee
nellamor.
Connoinacque
quellaface
Checipiace,
eciconsola,
Epotrla
mortesola
Farchecangi
affettoilcor.
Rispettate,
animeingrate,
Questesempio
dicostanza;
Eunabarbara
speranza
Nonvirenda
audaciancor!
(Vanperpartire.
Ferrandola
16
richiama,Guglielmo
richiamalaltra)
FERRANDO
(aFiordiligi)
Ah,nonpartite!
GUGLIELMO
(aDorabella)
Ah,barbare,restate!
(aDonAlfonso)
Chevipare?
DONALFONSO
(sottovocea
Guglielmo)
Aspettate
(alledueamanti)
Percarit,ragazze,
Nonmifatepifar
tristafigura.
DORABELLA
(confuoco)
Echepretendereste?
DONALFONSO
Eh,nulla...
mamipare...
Cheunpochin
didolcezza...
Alfinson
galantuomini,
Esonoamicimiei.
FIORDILIGI
Come!Eudire
dovrei...
GUGLIELMO
Lenostrepene,
Esentirnepiet!
Lacelestebeltdegli
occhivostri
Lapiagaaprnei
nostri,
Cuirimediarpu
solo
Ilbalsamodamore.
Unsoloistanteil
coreaprite,obelle,
Asuedolcifacelle,o
avoidavanti
Spirarvedreteipi
fedeliamanti.


16.No.15Aria
GUGLIELMO
Nonsiateritrosi,
Occhiettivezzosi;
Duelampiamorosi
Vibrateunpoqua.
Felicirendeteci,
Amateconnoi;
Enoifelicissime
Faremoanchevoi.
Guardate,Toccate,
Iltuttoosservate:
Siamfortie
benfatti,
Ecomeognunvede,
Siamerto,siacaso,
Abbiamobelpiede,
Bellocchio,
belnaso;
Guardate,bel
piede,osservate,
bellocchio,
Toccate,belnaso,
iltuttoosservate:
Equestimustacchi
Chiamaresi
possono
Trionfidegli
uomini,
Pennacchidamor.
(Fiordiligie
Dorabellapartono
concollera)

Scenadodicesima
Ferrando,GuglielmoeDonAlfonso.
17.No.16Terzetto
DONALFONSO
Evoiridete?
FERRANDOe
GUGLIELMO
Certo,ridiamo.
DONALFONSO
Macosaavete?
FERRANDOe
GUGLIELMO
Gilosappiamo.
DONALFONSO
Ridetepiano!
FERRANDOe
GUGLIELMO
Parlateinvano.
DONALFONSO
Sevisentissero,
Seviscoprissero,
Siguasterebbe
Tuttolaffar.
FERRANDOe
GUGLIELMO
(sforzandosidi
rideresottovoce)
Ah,chedalridere
Lalmadividere,
Ah,cheleviscere
Sentoscoppiar!
DONALFONSO
(fras)
Mifadaridere
Questolorridere,
Masochein
piangere

Deeterminar.
DONALFONSO
Sipusapere
unpoco
Lacagiondi
quelriso?
GUGLIELMO
Ohcospettaccio!
Nonvipareche
abbiamgiusta
ragione,
Ilmiocaro
padrone?
FERRANDO
(scherzando)
Quantopagar
volete,
Eamontela
scommessa?
GUGLIELMO
(scherzando)
Pagatelamet.
FERRANDO(c.s.)
Pagatesolo
Ventiquattro
zecchini.
DONALFONSO
Poveriinnocentini!
Venitequa,vivoglio
Porreilditinoin
bocca!
GUGLIELMO
Eaveteancora
Coraggiodifiatar?
DONALFONSO
Avantisera
Ciparlerem.
FERRANDO
Quandovolete.
DONALFONSO
Intanto,
Silenzioe
ubbidienza
Finoadoman
mattina.
GUGLIELMO
Siamsoldati,e
amiamladisciplina.
DONALFONSO
Orbene,andateun
poco
Adattendermi
entrambiin
giardinetto,
Colvimander
gliordinimiei.
GUGLIELMO
Edogginonsi
mangia?
FERRANDO
Cosaserve?
Abattagliafinita
Fialacenapernoi
pisaporita.

18.No.17Aria
FERRANDO
Unauraamorosa
Delnostrotesoro
Undolceristoro
Alcorporger;

95010MozartCompleteEdition
199

Alcorche,nudrito
Daspeme,da
amore,
Diunescamigliore
Bisognononha.
(Ferrandoe
Guglielmopartono)

Scenatredicesima
DONALFONSO
solo;poiDespina
DonAlfonso
Oh,lafariada
ridere:spoche
Sonledonne
costanti,inquesto
mondo,
Equivenesondue!
Nonsarnulla...
(EntraDespina)
Vieni,vieni,
fanciulla,edimmi
unpoco
Dovesonoeche
fanletue
padrone.
DESPINA
Lepoverebuffone
Stannonel
giardinetto
Alagnarsicollaria
ecollemosche
Daverperso
gliamanti.
DONALFONSO
Ecomecredi
Chelaffarfinir?
Vogliamsperare
Chefaranno
giudizio?
DESPINA
Iolofarei;
Edovepiangonesse
ioriderei.
Disperarsi,
strozzarsi
Perchparteun
amante?
Guardateche
pazzia!
Senepiglianodue,
sunovavia.
DONALFONSO
Brava,questa
prudenza.
(fras)
Bisogna
impuntigliarla.
DESPINA
Eleggedinatura,
Enonprudenza
sola.Amorcos?
Piacer,comodo,
gusto,
Gioia,divertimento,
Passatempo,
allegria:non
piamore
Seincomodo
diventa,
Seinvecedipiacer


nuocee
tormenta.
DONALFONSO
Maintanto
quellepazze...
DESPINA
Quellepazze
Farannoamodo
nostro.
buonche
sappiano
Dessereamate
dacolor.
DONALFONSO
Losanno.
DESPINA
Dunque
riameranno.
Diglielo,si
suoldire,
Elasciafareal
diavolo.
DONALFONSO
Macome
Farvuoiperch
ritornino
Orchepartitisono,
echelisentano
Etentaresi
lascino
Questedue
bestioline?
DESPINA
Amelasciate
Labrigliadicondur
tuttalamacchina.
QuandoDespina
macchinaunacosa
Nonpumancar
deffetto:hogi
menati
Milluominipel
naso,
Saprmenardue
femmine.
Sonricchiidue
monsmustacchi?
DONALFONSO
Sonricchissimi.
DESPINA
Doveson?
DONALFONSO
Sullastrada
Attendendomi
stanno.
DESPINA
Iteesulfatto
Perlapicciola
porta
Americonduceteli;
vaspetto
Nellacameramia.
Purchtutto
facciate
Quelchio
vordiner,priadi
domani
Ivostriamici
canteranvittoria;
Edessiavrannoil

gusto,ediola
gloria.
(Partono)

CD164
Scenaquattordicesima
Giardinettogentile;duesofderbaailati.
FiordiligieDorabella.
1.No.18Finale
FIORDILIGIe
DORABELLA
Ah,chetutta
inunmomento
Sicangila
sortemia,
Ah,cheun
marpiendi
tormento
lavitaormai
perme!
Finchmeco
ilcarobene
Milasciarle
ingratestelle,
Nonsapea
coseranpene,
Nonsapea
languircos
Ah,chetutta
inunmomento
Sicangilasorte
mia...
Ah,cheunmar
pienditormento
lavitaormai
perme!

Scenaquindicesima
FiordiligieDorabella;Ferrando,Guglielmoe
DonAlfonso;poiDespina.
2.FERRANDOe
GUGLIELMO
(didentro)
Simora,s,simora
Ondeappagarle
ingrate.
DONALFONSO
(didentro)
Cunasperanza
ancora;
Nonfate,oDei,
nonfate!
FIORDILIGIe
DORABELLA
Stelle,chegrida
orribili!
FERRANDOe
GUGLIELMO
(c.s.)
Lasciatemi!
DONALFONSO
(c.s.)
Aspettate!
(Ferrandoe
Guglielmo,
portandociascuno
unaboccetta,
entranoseguitida
DonAlfonso)
FERRANDOeGUGLIELMO
Larsenico

95010MozartCompleteEdition
200

miliberi
Ditantacrudelt!
(Bevonoegittanvia
ilnappo.Nel
voltarsivedono
leduedonne)
FIORDILIGIe
DORABELLA
Stelle,unvelen
fuquello?
DONALFONSO
Velenobuono
ebello,
Cheadessiin
pochiistanti
Lavita
toglier.
FIORDILIGIe
DORABELLA
Iltragicospettacolo
Gelareilcormifa!
FERRANDOe
GUGLIELMO
Barbare,
avvicinatevi;
Dundisperato
affetto
Mirateil
tristeeffetto
Eabbiate
almenpiet.
FIORDILIGIe
DORABELLA
Iltragicospettacolo
Gelareilcormifa!
FERRANDOe
GUGLIELMO
Ah,chedel
soleilraggio
Foscoperme
diventa!
DONALFONSO,
FIORDILIGIe
DORABELLA
Tremo:lefibre
elanima
Parchemancar
sisenta,
Npulalingua
oillabbro
Accentiarticolar!
(Ferrandoe
Guglielmocadono
sopraibanchi
derba)
DONALFONSO
Giacchamorir
vicini
Sonoquei
meschinelli,
Pietadealmeno
aquelli
Cercatedi
mostrar.
FIORDILIGIe
DORABELLA
Gente,accorrete,
gente!
Nessuno,oddio,
cisente!
Despina!


DESPINA
(didentro)
Chimichiama?
FIORDILIGIe
DORABELLA
Despina!
DESPINA
(entrandoinscena)
Cosavedo!
Mortiimeschini
iocredo,
Oprossimi
aspirar!
DONALFONSO
Ah,chepurtroppo
vero!
Furenti,disperati,
Sisonoavvelenati
Oh,amoresingolar!
DESPINA
Abbandonari
miseri
Sariapervoi
vergogna:
Soccorrerli
bisogna.
FIORDILIGI,
DORABELLAe
DONALFONSO
Cosapossiam
maifar?
DESPINA
Divitaancor
dansegno;
Collepietosemani
Fateunpolor
sostegno.
(aDonAlfonso)
Evoiconme
correte:
Unmedico,un
antidoto
Voliamoaricercar.
(DespinaeDon
Alfonsopartono)
FIORDILIGIe
DORABELLA
Dei,che
cimentoquesto!
Eventopifunesto
Nonsipotea
trovar.
FERRANDOe
GUGLIELMO
(fras)
Pibella
commediola
Nonsipotea
trovar!
(adaltavoce)
Ah!
FIORDILIGIe
DORABELLA
(standolontano
dagliamanti)
Sospirangliinfelici.
FIORDILIGI
Chefacciamo?
DORABELLA
Tuchedici?
FIORDILIGI

Inmomentis
dolenti,
Chipotriali
abbandonar?
DORABELLA
(siaccostaunpoco)
Chefigure
interessanti!
FIORDILIGI
(siaccostaunpoco)
Possiamfarciun
pocoavanti.
DORABELLA
Hafreddissima
latesta.
FIORDILIGI
Freddafredda
ancoraquesta.
DORABELLA
Edilpolso?
FIORDILIGI
Iononglielsento.
DORABELLA
Questobatte
lentolento.
FIORDILIGIe
DORABELLA
Ah,setarda
ancorlaita,
Spemepinon
vdivita!
FERRANDOe
GUGLIELMO
(fras)
Pidomestiche
etrattabili
Sonoentrambe
diventate;
Staavederche
lorpietade
Vainamore
aterminar.
FIORDILIGIe
DORABELLA
Poverini!
Lalormorte
Mifarebbe
lagrimar.

Scenasedicesima
Fiordiligi,Dorabella,Ferrando,Guglielmo;
DespinatravestitadamedicoeDonAlfonso.
3.DONALFONSO
Eccoviilmedico,
Signorebelle!
FERRANDOe
GUGLIELMO
(fras)
Despinain
maschera:
Chetrista
pelle!
DESPINA
Salvete,amabiles
Buonaepuellae!
FIORDILIGIe
DORABELLA
Parlaunlinguaggio
Chenonsappiamo.
DESPINA
Comecomandano

95010MozartCompleteEdition
201

Dunqueparliamo:
Soilgrecoelarabo,
Soilturcoeil
vandalo;
Losvevoeiltartaro
Soancorparlar.
DONALFONSO
Tantilinguaggi
Persconservi.
Queimiserabili
Peroraosservi;
Presohannoil
tossico,
Chesipufar?
FIORDILIGIe
DORABELLA
Signordottore,
Chesipufar?
DESPINA
(toccailpolsoela
fronteallunoeindi
allaltro)
Saperbisognami
Prialacagione,
Equincilindole
Dellapozione:
Secaldaofrigida,
Sepocaomolta,
Seinunavolta
Bebberlao
inpi.
FIORDILIGI,
DORABELLAe
DONALFONSO
Presohan
larsenico,
Signordottore;
Quidentroil
bebbero.
Lacausaamore,
Edinunsorso
Selmandargi.
DESPINA
Nonviaffannate,
Nonviturbate:
Eccounaprova
Dimiavirt.
FIORDILIGIe
DORABELLA
Eglihadiunferro
Lamanfornita.
DESPINA
(toccaconunpezzo
dicalamitalatesta
aifintiinfermie
strisciadolcementei
lorocorpiperlungo)
Questoquelpezzo
Dicalamita,
Pietramesmerica,
Chebbelorigine
NellAlemagna,
Chepoiscelebre
LinFranciafu.
FIORDILIGI,
DORABELLAe
DONALFONSO
Comesimuovono,
Torcono,scuotono,
Interrailcranio
Prestopercuotono.


DESPINA
Ah,lorlafronte
Tenetesu.
FIORDILIGIeDORABELLA
Eccocipronte!
(mettonlamano
sullafrontedeidue
amanti)
DESPINA
Teneteforte!
Corraggio;orliberi
Sietedamorte.
FIORDILIGIeDORABELLAeDONALFONSO
Attornoguardano,
Forzeriprendono.
Ah,questomedico
ValeunPer!
FERRANDOeGUGLIELMO
(sorgendoinpiedi)
Doveson?cheloco
questo?
Chicolui?Color
chisono?
SondiGiove
innanzialtrono?
(Ferrandoa
Fiordaligi,e
Guglielmoa
Dorabella)
SeituPalla
oCiterea?
No,tusei
lalmamiaDea!
Tiravvisoal
dolceviso
Eallamanchor
benconosco
Echesolail
miotesor.
(abbraccianole
amantiteneramente
ebacianlorola
mano)
DESPINAeDONALFONSO
Sonoeffetti
ancordeltosco:
Nonabbiate
alcuntimor.
FIORDILIGIe
DORABELLA
Sarver,ma
tantesmorfie
Fannotortoal
nostroonor.
FERRANDOeGUGLIELMO
(fras)
Dallavogliachho
diridere
Ilpolmonmi
scoppiaoror.
(Ferrandoa
Fiordaligi,e
Guglielmoa
Dorabella)
Perpiet.bellidol
mio...
FIORDILIGIeDORABELLA
Piresisternon
possio.
FERRANDOeGUGLIELMO
(c.s.)

...Volgiame
leluciliete!
DESPINAe
DONALFONSO
Inpochore,lo
vedrete,
Pervirtdel
magnetismo
Finirquel
parossismo,
Tornerannoal
primoumor.

4.FERRANDOeGUGLIELMO
(c.s.)
Dammiunbacio,
omiotesoro;
Unsolbacio,
oquimimoro.
FIORDILIGIeDORABELLA
Stelle,unbacio?
DESPINA
Secondate
Pereffettodi
bontate.
FIORDILIGIeDORABELLA
Ah,chetroppo
sirichiede
Daunafida
onestaamante!
Oltraggiata
lamiafede,
Oltraggiato
questocor!
DESPINA,FERRANDO,GUGLIELMOeDON
ALFONSO
(fras)
Unquadrettopi
giocondo
Nonsividein
tuttoilmondo;
Quelchepi
mifadaridere
quellirae
quelfuror.
FIORDILIGIe
DORABELLA
Disperati,
attossicati,
Itealdiavol
quantisiete;
Tardiinver
vipentirete
Sepicresce
ilmiofuror!
DESPINA,eDONALFONSO
(fras)
Unquadretto
pigiocondo
Nonsividein
tuttoilmondo.
Quelchepi
mifadaridere
quellirae
quelfuror.
Chiobenso
chetantofoco
Cangerassiin
queldamor.
FERRANDOeGUGLIELMO
(fras)

95010MozartCompleteEdition
202

Unquadretto
pigiocondo
Nonsividein
tuttoilmondo.
Manonsose
fintaovera
Sianquellira
equelfuror.
Nvorreiche
tantofoco
Terminassein
queldamor.

Attosecondo
Scenaprima
Camera.
Fiordiligi,
Dorabellae
Despina.
5.DESPINA
Andatel,chesiete
Duebizzarre
ragazze!
FIORDILIGI
Oh,cospettaccio!
Cosapretenderesti?
DESPINA
Permenulla.
FIORDILIGI
Perchidunque?
DESPINA
Pervoi.
DORABELLA
Pernoi?
DESPINA
Pervoi:
Sietevoidonne,
ono?
FIORDILIGI
Eperquesto?
DESPINA
Eperquesto
Dovetefar
dadonne.
DORABELLA
Cio?
DESPINA
Trattarlamore
enbagatelle;
Leoccasionibelle
Nonnegliger
giammai;cangiar
atempo,
Atempoesser
costanti;
Coquettizzar
congrazia;
Prevenirla
disgrazia,scomune
Achisifida
inuomo;
Mangiarilficoe
nongittareilpomo.
FIORDILIGI
(fras)
Chediavolo!
(aDespina)
Taicose
Falletu,se
nhaivoglia.


DESPINA
Iogilefaccio.
Mavorreiche
anchevoi
Pergloria
delbelsesso,
Facesteunpolo
stesso.Peresemplo,
IvostriGanimedi
Sonandatialla
guerra?Infinche
tornano
Fateallamilitare:
reclutate.
DORABELLA
Ilcieloceneguardi!
DESPINA
Eh,chenoisiamoin
terra,enonincielo!
Fidatevialmiozelo:
gichquesti
Forastieri
vadorano,Lasciatev
iadorar.Son
ricchi,belli,
Nobili,generosi,
comefede
FeceavoiDon
Alfonso;avean
coraggio
Dimorirepervoi;
questisonmerti
Chesprezzar
nonsidenno
Dagiovaniqualvoi
belleegalanti,
Cheponstarsenza
amor,nonsenza
amanti.
(fras)
Parchecitrovin
gusto.
FIORDILIGI
PerBacco,
cifaresti
Fardellebelle
cose!
Credituche
vogliamo
Favoladiventar
deglioziosi?
Ainostricarisposi
Credituche
vogliamdartal
tormento?
DESPINA
Echidice
cheabbiate
Afarloro
alcuntorto?
(fras)
Amiche,siamo
inporto!
DORABELLA
Nontiparechesia
tortobastante
Senotosifacesse
Chetrattiamo
costor?
DESPINA
Ancheperquesto

Cunmezzo
sicurissimo:
Iovoglio
spargerfama
Chevengono
dame.
DORABELLA
Chivuoiche
ilcreda?
DESPINA
Ohbella!
Nonhaforse
Mertouna
cameriera
Daverdue
cicisbei?Dime
fidatevi.
FIORDILIGI
No,no;son
troppoaudaci,
Questituoi
forastieri.
Nonebberla
baldanza
Findichieder
deibaci?
DESPINA
(fras)
Chedisgrazia!
(allepadrone)
Iopossoassicurarvi
Chelecoseche
hanfatto
Furoeffettidel
tossicoche
hanpreso:
Convulsioni,deliri,
Follie,
vaneggiamenti.
Maorvedrete
comesondiscreti,
Manierosi,modesti
emansueti.
Lasciatelivenir.
DORABELLA
Epoi?
DESPINA
Epoi...
Caspita,fatevoi!
(fras)
Lhodettoche
cadrebbero.
FIORDILIGI
Cosadobbiamo
far?
DESPINA
Quelchevolete:
Sietedossaedi
carne,ocosasiete?

6.No.19Aria
DESPINA
Unadonnaa
quindicianni
Desaperogni
granmoda,
Doveildiavolo
halacoda,
Cosabene
emalcos.
Desaperle

95010MozartCompleteEdition
203

maliziette
Cheinnamorano
gliamanti,
Fingerriso,
fingerpianti,
Inventar
ibeiperch.
Deinunmomento
Darrettaacento;
Collepupille
Parlarconmille;
Darspemeatutti,
Sienbelliobrutti;
Sapernascondersi
Senzaconfondersi;
Senzaarrossire
Sapermentire;
E,qualregina
Dallaltosoglio
Colpossoevoglio
Farsiubbidir.
(fras)
Parchabbiangusto
Ditaldottrina.
VivaDespina
Chesaservir!
(parte)

Scenaseconda
Fiordiligie
Dorabella
FIORDILIGI
Sorella,cosadici?
DORABELLA
Iosonstordita
Dallospirto
infernaldital
ragazza.
FIORDILIGI
Macredimi,
unapazza.
Tiparche
siamoincaso
Diseguir
suoiconsigli?
DORABELLA
Oh,certo,setupigli
Pelrovescioil
negozio.
FIORDILIGI
Anzi,iolopiglio
Perilsuoverso
dritto:
Noncreditudelitto,
Perduegiovani
omaipromesse
spose,
Ilfardiquestecose?
DORABELLA
Ellanondice
Chefacciamoalcun
mal.
FIORDILIGI
malchebasta
Ilfarparlardinoi.
DORABELLA
Quandosidice
Chevengonper
Despina!
FIORDILIGI
Oh,tuseitroppo


largadicoscienza!
Echediran
Glisposinostri?
DORABELLA
Nulla:
Ononsapran
laffare,
Edtuttofinito;
Osapranqualche
cosa,eallordiremo
Chevenneroperlei.
FIORDILIGI
Mainostricori?
DORABELLA
Restanoquel
chesono:
Perdivertirsiun
poco,enonmorire
Dallamalinconia
Nonsimancadif,
sorellamia.
FIORDILIGI
Questover.
DORABELLA
Dunque?
FIORDILIGI
Dunque,
Faunpotu:ma
nonvoglio
Averlacolpasepoi
nasceunimbroglio.
DORABELLA
Cheimbroglio
nascerdeve
Contanta
precauzion?Per
altroascolta:
Perintendercibene,
Qualvuoisceglier
pertededue
Narcisi?
FIORDILIGI
Deciditu,sorella.
DORABELLA
Iogidecisi.

7.No.20Duetto
DORABELLA
Prenderquel
brunettino,
Chepilepido
mipar.
FIORDILIGI
Edintantoiocol
biondino
Vounporidere
eburlar.
DORABELLA
Scherzosettaai
dolcidetti
Iodiquel
risponder.
FIORDILIGI
Sospirandoi
sospiretti
Iodellaltro
imiter.
DORABELLA
Midir:Benmio,
mimoro.

FIORDILIGI
Midir:Miobeltesoro.
FIORDILIGIe
DORABELLA
Edintantoche
diletto,
Chespassettoio
prover!
(partonoe
sincontranoin
DonAlfonso)

Scenaterza
Fiordiligi,DorabellaeDonAlfonso.
DONALFONSO
Ah,correteal
giardino,
Lemiecare
ragazze!che
allegria!
Chemusica!che
canto!
Chebrillante
spettacolo!
cheincanto!
Fatepresto,correte!
DORABELLA
Chediamine
esserpu?
DONALFONSO
Tostovedrete.
(partono)

Scenaquarta
Giardinoallarivadelmareconsediliderbae
duetavolinidipietra.Allaspondaunabarca
ornatadifiori.
FERRANDO,GUGLIELMO,DESPINA,FIORDILIGI,
DORABELLA,DONALFONSO.
marinaieservi.
(Ferrandoe
Guglielmoconuna
bandadisuonatori
ecorodimarinai
cantatoriecantatrici
nellabarca;
Despinanel
giardino;Fiordiligi
eDorabella,
accompagnateda
DonAlfonso,
vengonodalato;
serviriccamente
vestiti)

8.No.21Duetto
(conCoro)
FERRANDOe
GUGLIELMO
Secondate,
auretteamiche,
Secondatei
mieidesiri,
Eportatei
mieisospiri
AllaDeadi
questocor.
Voicheudiste
millevolte
Iltenordelle
miepene,

95010MozartCompleteEdition
204

Ripeteteal
carobene
Tuttoquelche
udisteallor.
CORO
Secondate,
auretteamiche,
Ildesirdisbeicor.
(Neltempodel
ritornellodiquesto)
CORO,
FERRANDOE
GUGLIELMO
Scendonocon
catenedifiori;
DonAlfonso
eDespina
liconducono
davantiledue
amanti,
cheresteranno
ammutiteed
attonite.
DONALFONSO
(aiservicheportano
baciliconfiori)
Iltuttodeponete
Sopraqueitavolini,
enellabarca
Ritiratevi,amici.
FIORDILIGI,
DORABELLA
Costal
mascherata?
DESPINA
(aFerrandoe
Guglielmo)
Animo,via,
coraggio:
aveteperso
Lusodella
favella?
(Labarca
sallontanadalla
sponda)
FERRANDO
Iotremoepalpito
Dallatestaalle
piante.
GUGLIELMO
Amorlegale
membraavero
amante.
DONALFONSO
(alledonne)
Dabrave,
incoraggiateli.
FIORDILIGI
(agliamanti)
Parlate.
DORABELLA
(agliamanti)
Liberiditepur
quelchebramate.
FERRANDO
Madama...
GUGLIELMO
Anzi,madame...
FERRANDO
(aGuglielmo)
Parlapurtu.


GUGLIELMO
(aFerrando)
No,no,parlapurtu.
DONALFONSO
Ohcospetto
deldiavolo,
Lasciatetalismorfie
Delsecolopassato.
Despinetta,
Terminiam
questafesta,
Fatuconleiquel
chiofarcon
questa.

9.No.22Quartetto
DONALFONSO
(prendepermano
Dorabella,mentre
Despinaprende
Fiordiligi)
Lamanoamedate,
Moveteviunpo.
(agliamanti)
Sevoinonparlate,
Pervoiparler.
(allesignore)
Perdonovichiede
Unschiavo
tremante;
Voffese,lovede,
Masolounistante.
Orpena,
matace...
FERRANDOe
GUGLIELMO
(ripetonolultima
parolaconlastessa
cantilena)
...Tace...
DONALFONSO
Orlasciaviinpace...
FERRANDOe
GUGLIELMO
(c.s.)
...Inpace...
DONALFONSO
Nonpuquelche
vuole,
Vorrquelchepu.
FERRANDOe
GUGLIELMO
(ripetonoidue
versiintericonun
sospiro)
Nonpuquel
chevuole,
Vorrquelchepu.
DONALFONSO
(alleragazze)
Suviarispondete,
Guardateeridete?
DESPINA
(mettendosidavanti
alledueragazze)
Pervoilarisposta
Alorodar.
Quelloche
statostato,
Scordiamci
delpassato.

Rompasiomai
quellaccio,
Segnodiservit.
(Despinaprendela
manodiDorabella,
DonAlfonsoquella
diFiordiligi;efan
rompereilacciagli
amanti,cuimettono
albracciodei
medesimi)
Ameporgete
ilbraccio,
Nsospiratepi.
DESPINAe
DONALFONSO
(aparte,sottovoce)
Percarit,partiamo:
Quelchesanfar
veggiamo;
Lestimopi
deldiavolo
Soranon
cascangi.
(partono)

Scenaquinta
Guglielmoabraccio
diDorabella,
Ferrandoe
Fiordiligisenza
darsibraccio.
Fannounapiccola
scenamuta
guardandosi,
sospirando,
ridendoetc.
FIORDILIGI
Ohchebella
giornata!
FERRANDO
Caldettaanzi
cheno.
DORABELLA
Chevezzosi
arboscelli!
GUGLIELMO
Certo,certo:son
belli,
Hanpifoglie
chefrutti.
FIORDILIGI
Queiviali
Comesonleggiadri.
Voletepasseggiar?
FERRANDO
Sonpronto,ocara,
Adognivostro
cenno.
FIORDILIGI
Troppagrazia!
FERRANDO
(aGuglielmo,
nelpassare)
Eccocialla
grancrisi.
FIORDILIGI
Cosagliavetedetto?
FERRANDO
Eh,gliraccomandai
Didivertirlabene.

95010MozartCompleteEdition
205

DORABELLA
(aGuglielmo)
Passeggiamo
anchenoi.
GUGLIELMO
Comevipiace.
(Passeggiano.
Dopoun
momentodi
silenzio)
Ahim!
DORABELLA
Checosaavete?
(glialtriduefanno
scenamutain
lontananza)
GUGLIELMO
Iomisentosmale,
Smale,animamia,
Chemipardi
morire.
DORABELLA
(fras)
Nonotterr
nientissimo.
(forte)
Saranno
rimasugli
Delvelenche
beveste.
GUGLIELMO
(confuoco)
Ah,cheunveleno
assaipiforte
iobevo
Inquecrudi
efocosi
Mongibelli
amorosi!
DORABELLA
Sarvelenocalido:
Fateviunpoco
fresco.
(glialtridue
entranoinatto
dipasseggiare)
GUGLIELMO
Ingrata,voiburlate
Edintantoiomi
moro!
(fras)
Sonspariti:
Dovediamin
soniti?
DORABELLA
Eh,via,nonfate...
GUGLIELMO
Iomimoro,
crudele,evoi
burlate?
DORABELLA
Ioburlo?ioburlo?
GUGLIELMO
Dunque
Datemiqualche
segno,animabella,
Dellavostrapiet.
DORABELLA
Due,sevolete;
Ditequelchefar
deggio,elovedrete.


GUGLIELMO
(fras)
Scherza,odice
davvero?
(forte,mostrandole
unciondolo)
Questapicciola
offerta
Daccettare
degnatevi.
DORABELLA
Uncore?
GUGLIELMO
Uncore:simbolo
diquello
Charde,
languiscee
spasimapervoi.
DORABELLA
(fras)
Chedonoprezioso!
GUGLIELMO
Laccettate?
DORABELLA
Crudele!
Disedurnon
tentateuncor
fedele.
GUGLIELMO
(fras)
Lamontagna
vacilla.
Mispiace;ma
impegnato
lonordisoldato.
(aDorabella)
Vadoro!
DORABELLA
Perpiet...
GUGLIELMO
Sontuttovostro!
DORABELLA
Oh,Dei!
GUGLIELMO
Cedete,ocara!
DORABELLA
Mifaretemorir...
GUGLIELMO
Morremoinsieme,
Amorosamia
speme.
Laccettate?
DORABELLA
(dopobreve
intervallo,con
unsospiro)
Laccetto.
GUGLIELMO
(fras)
InfeliceFerrando!
(aDorabella)
Ochediletto!

10.No.23Duetto
GUGLIELMO
Ilcorevidono,
Bellidolomio;
Mailvostrovo
anchio,
Via,dateloame.
DORABELLA

Meldate,loprendo,
Mailmiononvi
rendo:
Invanmelchiedete,
Pimecoeinon.
GUGLIELM
Setecononlhai,
Perchbattequi?
DORABELLA
Seametulodai,
Chemaibalzal?
DORABELLAe
GUGLIELMO
ilmiocoricino
Chepinon
meco:
Eivenneastarteco,
Eibattecos.
GUGLIELMO
Vuolmetterleilcore
dovhailritratto
dellamante)
Quilasciacheil
metta.
DORABELLA
Eiquinonpustar.
GUGLIELMO
Tintendo,furbetta.
DORABELLA
Chefai?
GUGLIELMO
Nonguardar.
(Letorcedolcemente
lafacciadallaltra
parte,lecavail
ritrattoevimetteil
core)
DORABELLA
(fras)
Nelpettoun
Vesuvio
Daveremipar.
GUGLIELMO
(fras)
FERRANDO
meschino!
Possibilnonpar.
(aDorabella)
Locchiettoa
megira.
DORABELLA
Chebrami?
GUGLIELMO
Rimira
Semegliopu
andar.
DORABELLAe
GUGLIELMO
Ohcambiofelice
Dicoriedaffetti!
Chenuovidiletti,
Chedolcepenar!
(Partono
abbracciati)

Scenasesta
FiordiligieFerrando.(EntraFiordiligiagitata,
seguitadaFerrando)
11.FERRANDO
Barbara!Perch
fuggi?

95010MozartCompleteEdition
206

FIORDILIGI
Hovistounaspide,
Unidra,un
basilisco!
FERRANDO
Ah,crudel,ti
capisco!
Laspide,lidra,il
basilisco,equanto
Ilibicidesertihan
dipifiero,
Inmesolotuvedi.
FIORDILIGI
vero,vero!
Tuvuoitormi
lapace.
FERRANDO
Maperfartifelice.
FIORDILIGI
Cessadi
molestarmi.
FERRANDO
Nontichiedoche
unguardo.
FIORDILIGI
Prtiti.
FERRANDO
Nonsperarlo
Sepriagliocchi
menfieriamenon
giri.
Ociel!Matumi
guardi,epoi
sospiri?

No.24Aria
FERRANDO
(lietissimo)
Ah,loveggio,
quellanimabella
Almiopianto
resisternonsa;
Nonfattaper
esserrubella
Agliaffettidi
amicapiet.
Inquelguardo,in
queicarisospiri
Dolceraggio
lampeggiaalmio
cor:
Girispondia
mieicaldidesiri,
Gitucedialpi
teneroamor.
(mesto)
Matufuggi,
spietata,tutaci
Edinvanomisenti
languir?
Ah,cessate,
speranzefallaci:
Lacrudelmi
condannaamorir.
(parte)

Scenasettima
Fiordiligisola.
12.FIORDILIGI
Eiparte...senti...ah
no...partirsilasci,


Sitolgaaisguardi
mieilinfausto
oggetto
Dellamia
debolezza.Aqual
cimento
Ilbarbaromi
pose!...Unpremio
questo
Bendovutoamie
colpe!...Intale
istante
Doveadinuovo
amante
Isospiriascoltar?
Laltruiquerele
Doveavolgerin
gioco?Ah,
questocore
Aragionecondanni,
ogiustoamore!
Ioardo,elardor
miononpi
effetto
Dunamor
virtuoso:
smania,affanno,
Rimorso,
pentimento,
Leggerezza,perfidia
etradimento!
Guglielmo,anima
mia!Perch
seitanto
oralungidame?
Solopotresti...
ahim!tumi
detesti,
mirigetti,
maborri...
iogitiveggio
minaccioso,
sdegnato;iosento
irimproveriamari,
eiltuotormento.

No.25Rond
FIORDILIGI
Perpiet,benmio,
perdona
Allerrordiun
almaamante;
Fraquestombree
questepiante
Sempreascoso,
ohDio,sar!
Svenerquest
empiavoglia
Lardirmio,
lamiacostanza;
Perderla
rimembranza
Chevergognae
orrormifa.
Achimaimanc
difede
Questovano
ingratocor!
Sidoveamiglior
mercede,
Carobene,al

tuocandor.
(parte)

CD165
Scenaottava
FerrandoeGuglielmo.
1.FERRANDO
(lietissimo)
Amico,abbiamo
vinto!
GUGLIELMO
Unamboo
unterno?
FERRANDO
Unacinquina,
amico:Fiordiligi
lamodestiain
carne.
GUGLIELMO
Nientemeno?
FERRANDO
Nientissimo.
Staattento
Eascoltacomefu.
GUGLIELMO
Tascolto:dipursu.
FERRANDO
Pelgiardinetto,
Comeeravam
daccordo,
Apasseggiarmi
metto;
Ledilbraccio,
siparla
Dimillecose
differenti;alfine
Viensiallamor.
GUGLIELMO
Avanti.
FERRANDO
Fingolabbra
tremanti,
Fingodipianger,
fingo
Dimoriral
suopi...
GUGLIELMO
Bravoassai,
permiaf.
Edella?
FERRANDO
Elladaprima
Ride,scherza,
miburla...
GUGLIELMO
Epoi?
FERRANDO
Epoi
Finge
dimpietosirsi...
GUGLIELMO
Ocospettaccio!
FERRANDO
Alfinscoppiala
bomba:
Puracomecolomba
Alsuocaro
Guglielmoellasi
serba;
Midiscaccia
superba,

95010MozartCompleteEdition
207

Mimaltratta,mi
fugge,
Testimonio
rendendomie
messaggio
Cheunafemmina
ellsenzaparaggio.
GUGLIELMO
Bravotu,bravoio,
Bravalamia
Penelope!
Lasciaunpochio
tiabbracci
Persfeliceaugurio,
Omiofido
Mercurio!
(siabbracciano)
FERRANDO
ElamiaDorabella?
Comesdiportata?
(contrasporto)
Ah,nonciho
neppurdubbio!
assaiconosco
Quellasensibil
alma.
GUGLIELMO
Eppurundubbio,
Parlandotia
quattrocchi,
Nonsariamal,
setulavessi.
FERRANDO
Come?
GUGLIELMO
Dicocosperdir!
(fras)
Avreipiacere
dindorarglila
pillola.
FERRANDO
Stelle!Cesse
ellaforse
Allelusinghetue?
Ah,siopotessi
Sospettarlo
soltanto!...
GUGLIELMO
semprebene
Ilsospettareun
pocoinquesto
mondo.
FERRANDO
EterniDei!favella:
afocolento
Nonmifarqui
morir...mano,
tuvuoi
Prendertimeco
spasso:ella
nonama,
Nonadora
cheme.
GUGLIELMO
Certo!Anzi
inprova
Disuoamor,
disuafede,
Questobel
ritrattinoella
midiede.


(glimostrailritratto
cheDorabellagli
hadato)
FERRANDO
(furente)
Ilmioritratto!
Ah,perfida!
(Vuolpartire)
GUGLIELMO
Ovevai?
FERRANDO(c.s.)
Atrarleilcordal
scelleratopetto
Eavendicarilmio
traditoaffetto.
GUGLIELMO
Fermati!
FERRANDO
(risoluto)
No,milascia!
GUGLIELMO
Seitupazzo?Vuoi
tuprecipitarti
Perunadonnache
nonvalduesoldi?
(fras)
Nonvorreiche
facesse
Qualche
corbelleria.
FERRANDO
Numi!Tante
promesse,
Elagrime,esospiri,
egiuramenti,
Inspochi
momenti
Comelempia
obli?
GUGLIELMO
Perbacco,
iononloso.
FERRANDO
Chefareor
deggio?
Aqualpartito,a
qualidea
mappiglio?
Abbidimepiet,
dammiconsiglio.
GUGLIELMO
Amico,nonsaprei
Qualconsiglio
atedar.
FERRANDO
Barbara!Ingrata!
Inungiorno!...
Inpocheore!...
GUGLIELMO
Certo,uncaso
questdafar
stupore.

2.No.26Aria
GUGLIELMO
Donnemie,
lafateatanti,
Che,seilver
videggiodir,
Sesilagnano
gliamanti

Licomincio
acompatir.
Iovobene
alsessovostro,
Losapete,
ognunosa:
Ognigiorno
velomostro,
Vidsegno
damist;
Maquelfarla
atantietanti
Mavvilisce
inverit.
Millevolte
ilbrandopresi
Persalvar
ilvostroonor,
Millevoltevidifesi
Collabocca,
epicolcor.
Maquelfarla
atantietanti
unvizietto
seccator.
Sietevaghe,
sieteamabili,
Pitesoriil
cielvidi,
Elegrazievi
circondano
Dallatestasinaipi;
Malafatea
tantietanti,
Checredibilenon.
Che,segridanogli
amanti,
Hannocertoun
granperch.
(parte)

Scenanona
Ferrandosolo;poiGuglielmoeDonAlfonso.
3.FERRANDO
Inqualfietro
contrasto,inqual
disordine
Dipensieriedi
affettiiomiritrovo?
Tantoinsolitoe
novoilcasomio,
Chenonaltri,
nonio
Bastoper
consigliarmi...
Alfonso,Alfonso,
Quantoridervorrai
Dellamia
stupidezza!
Mamivendicher:
saprdalseno
Cancellar
quelliniqua...
cancellarla?
Troppo,oddio,
questocorperlei
miparla.
(quicapita
DonAlfonsocon
Guglielmo,esta
asentire)

95010MozartCompleteEdition
208

No.27Cavatina
FERRANDO
Tradito,schernito
Dalperfidocor,
Iosentocheancora
Questalmaladora,
Iosentoperessa
Levocidamor.
DONALFONSO
(avvicinandosia
Ferrando)
Bravo,questa
costanza!
FERRANDO
Andate,obarbaro!
Pervoimiserosono.
DONALFONSO
Via,sesaretebuono
Vitornerlantica
calma.Udite:
(mostrando
Guglielmo)
FIORDILIGIa
GUGLIELMO
Siconservafedel,
eDorabella
Infedelavoifu.
FERRANDO
Permiavergogna.
GUGLIELMO
Caroamico,bisogna
Fardelledifferenza
inognicosa.
Tiparecheuna
sposa
Mancarpossaaun
Guglielmo?Un
picciuolcalcolo,
Nonparloper
lodarmi,
Sefacciamotra
noi...Tuvedi,
amico,
Cheunpocopidi
merto...
DONALFONSO
Eh,anchiolodico.
GUGLIELMO
Intantomidarete
Cinquanta
zecchinetti.
DONALFONSO
Volentieri.
Priaperdipagar,
vochefacciamo
Qualchealtra
esperienza.
GUGLIELMO
Come!
DONALFONSO
Abbiatepazienza;
infindomani
Sieteentrambimiei
schiavi,ame
voideste
Paroladasoldati
Difarquelchio
dir.Venite,
iospero
Mostrarvibenche


follequelcervello
Chesullafrasca
ancorvende
luccello.
(partono)

Scenadecima
Cameracondiverseporte,specchioetavolini.
DorabellaeDespina;poiFiordiligi.
DESPINA
Oravedo
chesiete
Unadonna
digarbo.
DORABELLA
Invan,Despina,
Diresistertentai:
queldemonletto
Haunartifizio,
uneloquenza,
untratto
Chetifacadergi
seseidisasso.
DESPINA
Corpodi
Satanasso!
Questovuoldir
saper!Tanto
diraro
Noipovereragazze
Abbiamoun
podibene,
Chebisogna
pigliarloallor
cheiviene.
(entraFiordiligi)
Maeccolasorella.
Checeffo!
FIORDILIGI
Sciagurate!
Eccopercolpa
vostra
Inchestato
mitrovo!
DESPINA
Cosanato,
Caramadamigella?
DORABELLA
Haiqualche
mal,sorella?
FIORDILIGI
Hoildiavolo
cheporti
Me,te,lei,Don
Alfonso,iforestieri
Equantipazziha
ilmondo.
DORABELLA
Haiperdutoil
giudizio?
FIORDILIGI
Peggio,peggio...
Inorridisci:ioamo,
elamormio
Nonsolper
Guglielmo.
DESPINA
Meglio,meglio!
DORABELLA
Echeforseanche
tuseinnamorata

Delgalante
biondino
FIORDILIGI
(sospirando)
Ah,purtroppo
pernoi.
DESPINA
Mobrava!
DORABELLA
Tieni
Settantamilabaci:
Tuilbiondino,
ioilbrunetto,
Eccocientrambe
spose!
FIORDILIGI
Cosadici?
Nonpensiagli
infelici
Chestamanepartir?
Ailoropianti,
Allalorfedelttu
pinonpensi?
Cosbarbarisensi
Dove,dove
apprendesti?
Sdiversadate
cometifesti?
DORABELLA
Odimi:seitucerta
Chenonmuoiano
inguerra
Inostrivecchi
amanti?Eallora
entrambe
Resteremcolleman
pienedimosche.
Traunbencertoe
unincerto
Csempregran
divario!
FIORDILIGI
Esepoi
torneranno?
DORABELLA
Setorneran,
lordanno!
Noisaremoallor
mogli,noisaremo
Lontanemille
miglia.
FIORDILIGI
Manonsocome
mai
Sipucangiarinun
solgiornouncore.
DORABELLA
Chedomanda
ridicola!Siam
donne!
Epoi,tucomhai
fatto?
FIORDILIGI
Iosaprvincermi.
DESPINA
Voinon
sapretenulla.
FIORDILIGI
Farchetuloveda.
DORABELLA
Credi,sorella,

95010MozartCompleteEdition
209

megliochetuceda.

4.No.28Aria
DORABELLA
amoreun
ladroncello,
Unserpentello
amor;
Eitoglieed
lapace,
Comeglipiace,
aicor.
Pergliocchial
senoappena
Unvarcoaprirsifa,
37
Chelanima
incatena
Etoglielibert.
Portadolcezza
egusto
Setulolascifar,
Matempiedi
disgusto
Setentidipugnar.
Seneltuopetto
eisiede,
Seglitibeccaqui,
Fatuttoquel
cheichiede,
Cheanchio
farcos
(Dorabellae
Despinapartono)

Scenaundicesima
Fiordiligisola;poiFerrando,GuglielmoeDon
Alfonsoinaltracamera;indiDespina.
FIORDILIGI
Cometutto
congiura
Asedurreilmio
cor!Mano...
simora
Enonsiceda...errai
quandoallasuora
Iomiscopersi,ed
allaservamia.
Essealuidiran
tutto,edeipi
audace,
Fiadituttocapace...
agliocchimiei
Maipinon
comparisca...
atuttiiservi
Minacceril
congedo.
(Ferrando,
Guglielmoe
DonAlfonsoentrano
inunaltracamera
chesivedeperla
portadellaprima)
Selolascian
passar...veder
nolvoglio,
Quelseduttor.
GUGLIELMO
(agliamici)
Bravissima!


Lamiacasta
Artemisia!La
sentite?
FIORDILIGI
Mapotria
Dorabella,
Senzasaputamia...
Piano...unpensiero
Perlamentemi
passa:incasamia
Restarmolte
uniformi
DiGuglielmoedi
Ferrando...ardir!...
Despina!Despina!
DESPINA
(entrando)
Cosac?
FIORDILIGI
Tieniunpoquesta
chiave,esenza
replica,
Senzareplica
alcuna,
Prendinel
guardarobae
quimiporta
Duespade,due
cappellieduevestiti
Denostrisposi.
DESPINA
Echevoletefare?
FIORDILIGI
Vanne,non
replicare.
DESPINA
(fras)
Comandainabrg
donnaArroganza!
(parte)
FIORDILIGI
Noncaltro,
hosperanza
CheDorabella
stessa
Seguiril
bellesempio.
Alcampo,
alcampo:
Altrastrada
nonresta
Perserbarci
innocenti.
DONALFONSO
(fras)
Hocapito
abbastanza.
(aDespina,che
ritorna)
Vannepur,non
temer.
DESPINA
(aFiordiligi)
Eccomi.
FIORDILIGI
Vanne.
Seicavallidiposta
Voliunservoa
ordinar...dia
Dorabella
Cheparlarle

vorrei...
DESPINA
Sarservita.
(fras)
Questadonnami
pardisennouscita.
(parte)

Scenadodicesima
Fiordiligi,poiFerrando;GuglielmoeDon
Alfonsonellaltracamera.
FIORDILIGI
LabitodiFerrando
Sarbuonoperme;
puDorabella
Prenderqueldi
Guglielmo.Inquesti
arnesi
Raggiungeremgli
sposinostri,alloro
Fiancopugnar
potremo
Emorirsefa
duopo.Itein
malora,
(sicavaquelloche
tieneintesta)
Ornamentifatali!...
Iovidetesto.
GUGLIELMO
(agliamici)
Sipudarunamor
simileaquesto?
FIORDILIGI
Ditornarnon
sperateallamia
fronte
Priachioquitorni
colmioben;in
vostro
Locoporrquesto
cappello...oh,come
Eimitrasformale
sembianzeeilviso!
Comeappenaio
medesmaormi
ravviso!

5.No.29Duetto
FIORDILIGI
Fragliamplessiin
pochiistanti
Giungerdelfido
sposo,
Sconosciutaalui
davanti
Inquestabitoverr.
Oh,chegioiailsuo
belcore
Provernel
ravvisarmi!
FERRANDO
(aFiordiligi,
entrando)
Edintantodidolore
Meschinelloiomi
morr.
FIORDILIGI
Cosaveggio!
Sontradita.
Deh,partite!

95010MozartCompleteEdition
210

FERRANDO
Ahno,miavita!
(prendelaspada
daltavolino,
lasfodera,ecc)
Conquelferrodi
tuamano
Questocortu
ferirai,
Eseforzaoddio
nonhai
Iolamantiregger.
(singinocchia)
FIORDILIGI
Taci,ahim!Son
abbastanza
Tormentataed
infelice!
FIORDILIGIeFERRANDO
Ah,cheomaila
mia/suacostanza
Aqueisguardi,a
quelchedice,
Incominciaa
vacillar!
FIORDILIGI
Sorgi,sorgi...
FERRANDO
Invanlocredi.
FIORDILIGI
Perpiet,da
mechechiedi?
FERRANDO
Iltuocor,
olamiamorte.
FIORDILIGI
Ah,nonson,non
sonpiforte...
FERRANDO
Cedi,cara!
(leprendelamano
eglielabacia)
FIORDILIGI
Dei,consiglio!
FERRANDO
Volgiamepietoso
ilciglio:
Inmesoltrovar
tupuoi
Sposo,amante,
episevuoi.
(tenerissimamente)
Idolmio,pinon
tardar.
FIORDILIGI
(tremando)
Giustociel!...
Crudel...haivinto
Fadimequel
chetipar.
(DonAlfonso
trattieneGuglielmo
chevorrebbeentrare)
FERRANDOeFIORDILIGI
Abbracciamci,
ocarobene,
Eunconforto
atantepene
Sialanguirdi
dolceaffetto,


Didilettosospirar!
(partono)

Scenatredicesima
GuglielmoeDonAlfonso;poiFerrando.
GUGLIELMO
Ohpoverettome!
cosahoveduto,
Cosahosentito
mai!
DONALFONSO
Percarit,silenzio!
GUGLIELMO
Mipelereilabarba,
Migraffierei
lapelle,
Edareicollecorna
entrolestelle!
FuquellaFiordiligi!
laPenelope,
LArtemisiadel
secolo!Briccona!
Assassina...
furfante...ladra...
cagna...
DONALFONSO
(lieto,fras)
Lasciamolosfogar.
FERRANDO
(entrando)
Ebben!
GUGLIELMO
Dov?
FERRANDO
Chi?Latua
Fiordiligi?
GUGLIELMO
LamiaFior...
fiordidiavolo,
chestrozzi
Leiprimae
dopome!
FERRANDO
(ironicamente)
Tuvedibene:
Vhandelle
differenzein
ognicosa...
Unpocodi
pimerto...
GUGLIELMO
Ah,cessaamico,
Cessadi
tormentarmi
Edunavia
piuttosto
Studiamdi
castigarle
Sonoramente.
DONALFONSO
Iosoqual:
sposarle
GUGLIELMO
Vorreisposar
piuttosto
Labarcadi
Caronte!
FERRANDO
Lagrottadi
Vulcano.
GUGLIELMO

Laporta
dellinferno.
DONALFONSO
Dunque,restate
celibiineterno.
FERRANDO
Mancheranforse
donne
Aduomincome
noi?
DONALFONSO
Nonc
abbondanza
daltro.
Malaltreche
faran,secifer
queste?
Infondo,voile
amate
Questevostre
cornacchie
spennacchiate.
GUGLIELMO
Ahpurtroppo!
FERRANDO
Purtroppo!
DONALFONSO
Ebbenpigliatele
Comelleson.
Naturanonpotea
Fareleccezione,il
privilegio
Dicreareduedonne
daltrapasta
Perivostribeimusi;
inognicosa
Civuolfilosofia.
Venitemeco;
Dicombinarlacosa
Studieremla
maniera.
Vocheancor
questasera
Doppienozzesi
facciano.Frattanto
Unottavaascoltate:
Felicissimivoi,sela
imparate.

6.No.30Andante
DONALFONSO
Tuttiaccusanle
donne,edio
lescuso
Semillevolteald
cangianoamore;
Altriunviziolo
chiamaedaltri
unuso,
Edamepar
necessitdelcore.
Lamantechesi
trovaalfindeluso
Noncondanni
laltrui,mail
proprioerrore;
Gichegiovani,
vecchie,ebellee
brutte,
Ripetetelconme:
Cosfantutte!

95010MozartCompleteEdition
211

FERRANDO,GUGLlELMOeDONALFONSO
Cosfantutte!

Scenaquattordicesima
Ferrando,Guglielmo,DonAlfonsoeDespina.
DESPINA
(entrando)
Vittoria,
padroncini!
Asposarvidisposte
Sonlecare
madame;
anomevostro
Loroiopromisiche
intregiornicirca
Partirannoconvoi.
Lordinmidiero
Ditrovarunnotaio
Chestipuliil
contratto;allalor
camera
Attendendo
vistanno.
Sietecoscontenti?
FERRANDO,GUGLIELMOeDONALFONSO
Contentissimi.
DESPINA
Nonmaisenza
effetto
Quandentrala
Despinainun
progetto.
(partono)

Scenaquindicesima
Salaricchissimailluminata.Orchestrainfondo.
Tavolaperquattropersonecondoppieri
dargentoecc.Despina,servitori,servettee
suonatori;poiDonAlfonso.
7.No.31Finale
DESPINA
Fatepresto,
ocariamici,
Allefaciil
fuocodate
Elamensa
preparate
Conricchezza
enobilt.
Dellenostre
padroncine
Gliimeneison
gidisposti.
(aisuonatori)
Evoigiteaivostri
posti,
Finchisposi
vengonqua.
CORODISERVIe
SUONATORI
Facciampresto,o
cariamici,
Allefaciilfuoco
diamo
Elamensa
prepariamo
Conricchezza
enobilt.
DONALFONSO
(entrando)
Bravi,bravi!


Ottimamente!
Cheabbondanza!
cheeleganza!
Unamancia
conveniente
Lunelaltro
avoidar.
(mentreDon
Alfonsocanta,
isuonatori
accordano)
Leduecoppie
omaisi
avanzano,
Fateplauso
alloroarrivo,
Lietocanto
esuongiulivo
Empiailciel
dilarit.
DESPINAe
DONALFONSO
(sottovoce,partendo
perdiverseporte)
No,pibella
commediola
Nonsvista,
osivedr!

Scenasedicesima
Fiordiligi,Dorabella,Ferrando,Guglielmo,servi
esuonatori.
8.CORO
Benedettiidoppi
coniugi
Eleamabilisposine!
Splendalor
ilcielbenefico
Edaguisadigalline
Siendifigli
ognorprolifiche,
Cheleagguaglino
inbelt.
FIORDILIGI,
DORABELLA,
FERRANDOe
GUGLIELMO
Comeparche
quiprometta
Tuttogioiae
tuttoamore!
Dellacara
Despinetta
Certoilmeritosar.
Raddoppiateillieto
suono,
Replicateil
dolcecanto,
Enoiquiseggiamo
intanto
Inmaggior
giovialit.
(Glisposisi
mettonoalla
tavola)
CORO
Benedettiidoppi
coniugi
Eleamabilisposine!
Splendalorilciel
benefico

Edaguisadigalline
Siendifigliognor
prolifiche,
Cheleagguaglino
inbelt.
(ilcoroparte:
restanoquattro
servitoriperservire
glisposi)
FERRANDOeGUGLIELMO
Tutto,tutto,
ovitamia,
Almiofuoco
orbenrisponde.
FIORDILIGIe
DORABELLA
Pelmiosangue
lallegria
Cresce,cresce
esidiffonde.
FERRANDOe
GUGLIELMO
Seipurbella!
FIORDILIGIe
DORABELLA
Seipurvago!
FERRANDOe
GUGLIELMO
Chebeirai!
FIORDILIGIe
DORABELLA
Chebellabocca!
FERRANDOe
GUGLIELMO
Toccaebevi!
(toccanoibicchieri)
FIORDILIGIe
DORABELLA
Bevietocca!

9.FIORDILIGI,DORABELLAeFERRANDO
Eneltuo,nel
miobicchiero
Sisommergaogni
pensiero.
Enonrestipi
memoria
Delpassato
ainostricor.
(ledonnebevono)
GUGLIELMO
(fras)
Ah,bevessero
deltossico,
Questevolpi
senzaonor!

Scenadiciasettesima
Fiordiligi,Dorabella,Ferrando,Guglielmoe
DonAlfonso;poiDespinainvestedinotaio.
10.DONALFONSO
(entrando)
Mieisignori,
tuttofatto.
Colcontratto
nuziale
Ilnotaio
sullescale
Eipsofacto
quiverr.
FIORDILIGI,

95010MozartCompleteEdition
212

DORABELLA,
FERRANDOe
GUGLIELMO
Bravo,bravo!
Passisubito.
DONALFONSO
Voachiamarlo:
eccoloqua.
DESPINA
(entrando,con
vocenasale)
Augurandovi
ognibene
IlnotaioBeccavivi
Collusataavoisen
viene
Notariledignit.
Eilcontratto
stipulato
Colleregole
ordinarie
Nelleforme
giudiziarie,
Priatossendo,
poisedendo,
Claravocelegger.
FIORDILIGI,DORABELLA,FERRANDOe
GUGLIELMO
Bravo,bravo
inverit!
DESPINA
Percontratto
damefatto,
Sicongiungein
matrimonio
Fiordiligicon
Sempronio,
EconTizio
Dorabella
Sualegittima
sorella,
Quelle,dame
ferraresi,
Questi,nobili
albanesi.
E,perdotee
contradote...
FIORDILIGI,DORABELLA,FERRANDOe
GUGLIELMO
Cosenote,
cosenote,
Vicrediamo,
cifidiamo:
Soscriviam,
datepurqua.
DESPINAeDONALFONSO
Bravi,bravi
inverit!
(lacartarestain
manodiDon
Alfonso.Sisenteun
gransuonodi
tamburoecanto
lontano)
CORO
(didentro)
Bellavitamilitar!
Ognidsi
cangialoco,
Oggimoltoe
domanpoco,


Orainterra
edorsulmar.
FIORDILIGI,DORABELLA,DESPINA,FERRANDO
eGUGLIELMO
Cherumor!che
cantoquesto!
DONALFONSO
Statecheti;iovoa
guardar.
(vaallafinestra)
Misericordia!
Numidelcielo!
Checasoorribile!
Iotremo,iogelo!
Glisposivostri...
FIORDILIGIeDORABELLA
Losposomio...
DONALFONSO
Inquestoistante
Tornaro,oddio!
Edallariva
Sbarcanogi!
FIORDILIGI,DORABELLA,FERRANDOe
GUGLIELMO
Cosamaisento!
Barbarestelle!
Intalmomento
Chesifar?
(iserviportano
vialatavola,ei
suonatoripartono
infretta)
FIORDILIGIeDORABELLA
(agliamanti)
Prestopartite!
FERRANDO,GUGLIELMO,DESPINAeDON
ALFONSO
Maseci/li
veggono?
FIORDILIGIeDORABELLA
Prestofuggite!
FERRANDO,GUGLIELMO,DESPINAeDON
ALFONSO
Maseci/li
incontrano?
(DonAlfonso
conduceDespina
inunacamera)
FIORDILIGIeDORABELLA
L,l,celatevi,
Percarit!
(conduconogli
amantiinunaltra
camera.Essine
esconononveduti
epartono)
Numi,soccorso!
DONALFONSO
Rasserenatevi...
FIORDILIGIe
DORABELLA
Numi,consiglio!
DONALFONSO
Ritranquillatevi...
FIORDILIGIe
DORABELLA
(quasifrenetiche)
Chidalperiglio
Cisalver?
DONALFONSO
Inmefidatevi,

Bentuttoandr.
FIORDILIGIe
DORABELLA
Millebarbari
pensieri
Tormentandoil
cormivanno.
Sediscoprono
linganno,
Ahdinoiche
maisar?

Scenaultima
FiordiligieDorabella;FerrandoeGuglielmo
conmantelliecappellimilitari;Despinain
camera;DonAlfonso.
11.FERRANDOeGUGLIELMO
Saniesalvi,agli
amplessiamorosi
Dellenostre
fidissimeamanti
Ritorniamo,
digioiaesultanti,
Perdarpremio
allalorfedelt.
DONALFONSO
Giustinumi,
Guglielmo!
Ferrando!
Oh,chegiubilo,
qui,come,
equando?
FERRANDOeGUGLIELMO
Richiamatidaregio
contrordine,
Pienoilcordi
contentoedi
giolito,
Ritorniamoalle
sposeadorabili,
Ritorniamoalla
vostraamist.
GUGLIELMO
(aFiordiligi)
Macosquel
pallor,quelsilenzio?
FERRANDO
(aDorabella)
Lidolmioperch
mestosista?
DONALFONSO
Daldilettoconfuse
edattonite
Mutemutesi
restanol.
FIORDILIGIeDORABELLA
(fras)
Ah,cheallabbrole
vocimimancano,
Senonmoroun
prodigiosar.
(iserviportano
unbaule)
GUGLIELMO
Permettete
chesiaposto
Quelbaulin
quellastanza.
(escedallaportaper
laqualeuscita
Despina,erientra

95010MozartCompleteEdition
213

immediatamente)
Dei,cheveggio!
Unuomnascosto?
Unnotaio?
Quichefa?
DESPINA
(rientrando,ma
senzacappello)
No,signor,
nonunnotaio;
Despina
mascherata
Chedalballo
ortornata
Easpogliarsi
orvennequa.
FERRANDOeGUGLIELMO
(fras)
Unafurbauguale
aquesta
Dovemai
sitrover?
DESPINA
Unafurbache
magguagli
Dovemai
sitrover?
(DonAlfonsolascia
cadereaccortamente
ilcontratto
sottoscrittodalle
donne)
FIORDILIGIeDORABELLA
LaDespina?
LaDespina?
Noncapisco
comeva.
DONALFONSO
(sottovoceagli
amanti)
Gicaderlasciai
lecarte,
Raccoglietele
conarte.
FERRANDO
(raccogliendo
ilcontratto)
Machecarte
sonoqueste?
GUGLIELMO
Uncontratto
nuziale?
FERRANDOeGUGLIELMO
(alleragazze)
Giustociel!Voiqui
scriveste;
Contradirci
omainonvale:
Tradimento,
tradimento!
Ahsifacciail
scoprimento
Eatorrenti,
afiumi,amari
Indiilsangue
scorrer!
(vannoperentrare
nellaltracamera;le
donneliarrestano)
FIORDILIGIeDORABELLA
Ah,signor,


sonreadimorte
Elamorteio
solvichiedo.
Ilmiofallo
tardivedo:
Conquel
ferrounsenferite
Chenon
meritapiet!
FERRANDOe
GUGLIELMO
Cosafu?
FIORDILIGIeDORABELLA
(additando
DonAlfonsoe
Despina)
Pernoifavelli
Ilcrudel,la
seduttrice!
DONALFONSO
Elaprova
chiusal.
(Accennalacamera
doveranoentrati
primagliamanti)
FIORDILIGIe
DORABELLA
(fras)
Daltimoriogelo,
iopalpito;
Perchmaili
discopr!
FERRANDOe
GUGLIELMO
entranoun
momentoin
camera,poisortono
senzacappello,
senzamantellie
senzamustacchi,
macollabitofinto
ecc.eburlanoin
modoridicolole
amantieDespina.
FERRANDO
(aFiordiligi)
Avoisinchina,
Belladamina,
Ilcavaliere
DellAlbania!
GUGLIELMO
(aDorabella)
Ilritrattino
Pelcoricino
Eccoiolerendo,
Signoramia.
FERRANDOe
GUGLIELMO
(aDespina)
Edalmagnetico
Signordottore
Rendolonore
Chemerit!
FIORDILIGI,DORABELLAeDESPINA
Stelle,cheveggo!
FERRANDO,GUGLIELMOeDONALFONSO
Sonstupefatte!
FIORDILIGI,DORABELLAeDESPINA
Alduolnonreggo!
FERRANDO,GUGLIELMOeDONALFONSO
Sonmezzematte.

FIORDILIGIeDORABELLA
(accennando
DonAlfonso)
Eccolilbarbaro
Checingann.
DONALFONSO
Vingannai,
mafulinganno
Disinganno
aivostriamanti,
Chepisaggi
omaisaranno,
Chefaranquel
chiovorr.
(liunisceelifa
abbracciare)
Qualedestre,
sietesposi.
Abbracciatevi
etacete.
Tuttiquattro
oraridete,
Chiogirisi
erider.
FIORDILIGIeDORABELLA
Idolmio,
sequestovero,
Collafedee
collamore
Compensar
sapriltuocore,
Adorarti
ognorsapr.
FERRANDOe
GUGLIELMO
Telocredo,
gioiabella,
Malaprova
iofarnonvo.
DESPINA
Iononsose
veglioosogno,
Miconfondo,
mivergogno.
Mancomal,se
amelhanfatta,
Cheamoltaltri
anchiolafo.
TUTTI
Fortunato
luomcheprende
Ognicosa
pelbuonverso,
Etraicasiele
vicende
Daragionguidar
sifa.
Quelchesuole
altruifarpiangere
Fiaperluicagion
diriso,
Edelmondoin
mezzoaiturbini
Bellacalmaprover.

DIEZAUBERFLTE(CD166168)
(CD166)
1.Overtre
ErsterAkt
SzeneI

95010MozartCompleteEdition
214

RauheFelsengegend,
hierunddaBume.
(Taminoeiltmiteinem
Bogen,aberohnePfeil,von
einergroenSchlange
verfolgt,herbei.)

Nr.1Introduktion
2.TAMINO
ZuHilfe!ZuHilfe!
Sonstbinichverloren!
DerlistigenSchlange
zumOpfererkoren!
BarmherzigeGtter!
SchonNahetsiesich;
ach,rettetmich,
ach,rettet,rettet,
schtzetmich,ach,
schtzet,schtzet,
rettet,tettet,tettet,
schtzetmich!
(Ersinktbewutlosaufdas
Felsenlager;schnellffnetsich
dieTrdesTempelsunddrei
verschleierteDameneilenmit
silbernenWurfspieen
herbei.)
DIEDREIDAMEN
Stirb,Ungeheu'r,
durchunsereMacht!
(Siezerschlagendie
SchlangeinzweiTeile.)
Triumph!Triumph!
Sieistvollbracht,dieHeldentat!
Erisbefreit,erisbefreit,
durchunsresArmesTapferkeit!
1.DAME
(Raminobetrachtend)
EinholderJngling,
sanftundschn!
2.DAME
Soschn,alsich
nochniegesehn!
3.DAME
Ja,jagewizumMalenschn.
DIEDREIDAMEN
WrdichmeinHerz
derLiebeweihn,
somtesdieserJnglingsein.
LatunszuunsrerFrstineilen,
ihrdieseNachrichtzuerteilen,
vielleicht,dadieser
schneMann
dievorgeRuhihrgebenkann.
1.DAME
sogeht,undsagtesihr,
ichbleibindessenhier.
2.DAME
Nein,nein!gehtihrnurhin,
ichwachehierfrihn.
3.DAME
Nein,nein,daskannnichtsein,
ichschtzeihnallein.
1.DAME
Ichbleibindessenhier...
2.DAME
Ichwachehierfrihn...
3.DAME
Ichschtzeihnallein...
1.DAME
...ichbleibe...


2.DAME
...ichwache...
3.DAME
...ichschtze...
DIEDREIDAMEN
...Ich!ich!ich!
(jedefrsich)
Ichsolltefort?
Ei!Ei!
Wiefein.
Diewrengernbeiihmallein.
Nein,nein.
Daskannnichtsein!
Siewrengern,ect.
(einenachderanderen,dannalle
zusammen)
Waswollteichdarum
nichtgeben,
knntichmitdiesem
Jnglingleben!
Httichihndoch
zoganzallein!
Dochkeinegeht;
eskannnichtsein!
Ambestenisesnun,ichgeh,
ichgeh.
DuJngling,schn
undliebevoll,
dutrauterJngling,lebewohl!
Bisichdichwiederseh!
DuJngling,usw.
(Alledrieentfernensich
durchdieTempelpforte,
diesichwiederschliet.)
3.TAMINO
(erwacht,sichtfurchtsamumher)
Wobinich?IstsPhantasie,
daichnochlebe?
OderhateinehhereMacht
michgerettet?
(Stehtauf,sichtumher.)Wie?
DiebsartigeSchlangetot?
(Manhrtvonfernein
Waldfltchen,worunterdas
Orchesterpianoabkompagniert,
Taminosprichtunterdem
Ritornell):
Washrich?Wobinich?
(Verstecktsichhintereinem
Baum.)

SzeneII
(PapagenokommtdenWegentlang,aufdem
RckeneingroesVogelbauermit
verschiedenenVgelntragend,indenHnden
hltereinWaldfltchen.EristganzmitFedern
bekleidet.)
Nr.2Lied
4.PAPAGENO
DerVogelfngerbinichja,
stetslustig,heisahopsasa!
IchVogelfngerbinbekannt
beialtundjungim
ganzenLand.
WeimitdemLocken
umzugehn,
undmichaufsPfeifen
zuverstehn!
Drumkannichfrohund
lustigsein,
dennalleVgelsindjamein.

DerVogelfngerbinichja,usw.
EinNetzfrMdchen
mchteich,
ichfingsiedutzendweis
frmich!
Dannsperrteichsiebeimirein,
undalleMdchenwrenmein.
WennalleMdchen
wrenmein,
sotauschteichbravZuckerein:
die,welchemiramliebstenwr,
dergbichgleichden
Zuckerher.
Undktesiemich
zrtlichdann,
wrsiemeinWeibund
ichihrMann.
SieschliefanmeinerSeiteein,
ichwiegtewieeinKindsieein.
(AlsPapagenoseinenKfig
abgesetzthat,trittTamino
hervor.)
5.TAMINO
(nimmtihnbeiderHand)
Heda!
PAPAGENO
Wasda!
TAMINO
Sagmir,dulustigerFreund,
werdubist?
PAPAGENO
Werichbin?(frsich)
DummeFrage!
(laut)EinMensch,wiedu.
Wennichjetztdich
fragte,werdubist?
TAMINO
Sowrdeichdir
antworten,daich
ausfrstlichenGebltebin.
PAPAGENO
Dasistmirzuhoch.Dumut
dichschondeutlichererklren,
wennichdich
verstehensoll!
TAMINO
MeinVateristFrst,derber
vieleLnderundMenschen
herrscht;darumnenntman
michPrinz.
PAPAGENO
Lnder?Menschen?Prinz?
Sagdumir:gibtsauerdiesen
Bergennochandere
LnderundMenschen?
TAMINO
VielTausende!
PAPAGENO
Dalieesicheine
Spekulationmit
meinenVgelnmachen.
TAMINO
Wienenntmaneigentlichdiese
Gegend?Werbeherrschtsie?
PAPAGENO
Daskannichdirebensowenig
beantworten,alsichwei,wie
ichaufdieWeltgekommenbin.
TAMINO
(lacht)
Wie?Duwtestnicht,wodu

95010MozartCompleteEdition
215

geboren,oderwerdeine
Elternwaren?
PAPAGENO
KeinWort!Ichweinichtmehr
undnichtweniger,alsdamich
einalter,abersehr
lustigerMannaufgezogenund
ernhrthat.
TAMINO
DaswarvermutlichdeinVater?
PAPAGENO
Dasweiichnicht.
TAMINO
HattestdudenndeineMutter
nichtgekannt?
PAPAGENO
Gekannthabichsienicht;
erzhlenlieichmireinigemal,
dasiebeidernchtlich
sternflammendenKnigin
Dienstgetanhtte.
Obsienochlebt,oderwasaus
ihrgewordenist,weiichnicht.
Ichweinursoviel,danicht
weitvonhiermeineStrohhtte
steht,diemichvor
RegenundKlteschtzt.
TAMINO
Aberwielebstdu?
PAPAGENO
VonEssenundTrinken,
wiealleMenschen.
TAMINO
Wodurcherhlstdudas?
PAPAGENO
DurchTausch.
TAMINO
Tausch?
PAPAGENO
Ichfangefrdie
sternflammendeKniginund
ihreJungfrauen
verschiedenartigeVgel;dafr
erhalteichtglichSpeisund
Trankvonihr.
TAMINO
(frsich)
SternflammendeKnigin!
Wennesetwagardiemchtige
Herrscherinder
Nachtwre.(laut)Sagmir,guter
Freund,warstdu
schonsoglcklich,dieseGttin
derNachtzusehen?
PAPAGENO
DeineletztealberneFrage
berzeugtmich,daduin
einemfremdenLandgeboren
bist.Sehen?Die
sternflammendeKniginsehen!
Wenndumirnocheinmalmit
einersolchenalbernenFrage
kommst,sosperrichdich,so
wahrichPapagenoheie,wie
einenGimpelinmeinVogelhaus
undverhandledichmitden
anderenVgelnandie
nchtlicheKniginundihre
Jungfrauen;dannmgensie
dichmeinetwegensiedenoder
braten.Sehen:Die


sternflammendeKniginsehen!
WelcherSterblicheknntesich
rhmen,diesternflammende
Knigingesehenzuhaben?(fr
sich)Wieermichsostarr
anblickt!Baldfangichan,mich
zufrchten.
Warumblickstduso
verdchtigundschelmisch
nachmir?
TAMINO
Weilweilichzweifle,obdu
Menschbist.
PAPAGENO
Wiewardas?
TAMINO
NachdeinenFedern,diedich
bedecken,haltichdich(geht
aufihnzu).
PAPAGENO
DochfrkeinenVogel?Bleib
zurck,sagich,undtrauemir
nicht,dennichhabeeine
Riesenkraft,wennichjemand
packe.(frsich)
Wennersichnichtbaldvonmir
schreckenlt,solaufich
davon.
TAMINO
Riesenkraft?
(ErsiehtaufdieSchlange.)
Alsowarstduwohlgarmein
Erretter,
derdiesegiftigeSchlange
bekmpfte?
PAPAGENO
Schlange
(sichtsichum,weichtzitternd
einigeSchrittezurck)
Istsietotoderlebendig?
TAMINO
Ichmudirsagen,daichewig
frdeinesotapfereHandlulng
dankbarseinwerde.
PAPAGENO
Schweigenwirdavon.
TAMINO
AberumallesinderWelt,
Freund,wie
hastdudiesesUngeheuer
bekmpft?Dubistohne
Waffen!
PAPAGENO
Brauchkeine!Beimiristein
starkerDruckmitderHand
mehralsWaffen.
TAMINO
Duhastsiealso
erdrosselt?
PAPAGENO
Erdrosselt!(frsich)Ichbinin
meinemLebenniesostark
gewesen,wieheute.

SzeneIII
DIEDREIDAMEN
(drohenundrufenzugleich)
Papageno!
PAPAGENO
Aha,dasgehtmichan!
TAMINO

WersinddieseDamen?
PAPAGENO
Wersiesind,weiich
auchnicht.
Ichweinursoviel,dasie
mirtglichmeineVgel
abnehmenundmirdafrWein,
ZuckerbrotundseFeigen
bringen.
TAMINO
Siesindvermutlichsehrschn?
PAPAGENO
Dasdenkichnicht!Dennwenn
sieschnwren,wrdensieja
ihreGesichternicht
bedecken.
DIEDREIDAMEN
(drohend)Papageno!
PAPAGENOAchso,dufragst,
obsieschnsind,undichkann
dirdaraufnichtsantworten,als
daichinmeinemLeben
nichtsReizenderessah.
Undjetztwerdensiebald
wiedergutwerden.
DIEDREIDAMEN
(drohend)Papageno!
PAPAGENO
Also,wasmuichdennheute
verbrochenhaben,dasieso
aufgebrachtwidermichsind?
Hier,meineSchnen,bergeb
icheuchmeineVgel.
1.DAME
(reichtihmeineschneBouteille
Wasser)
DafrschicktdirunsereFrstin
heutezumerstenmalstattWein
reines,hellesWasser.
PAPAGENO
Wasser?
2.DAME
Undmirbefahlsie,daich,statt
Zuckerbrot,diesenSteindir
berbringensoll.Ich
wnsche,daerdirwohl
bekommenmge.
PAPAGENO
Was?Steinesollichfressen?
3.DAME
Undstattdersen
Feigenhabichdie
Ehre,dirdiesgoldene
SchlovordenMundzu
schlagen.
(SieschlgtihmeinSchlovor.)
PAPAGENO
(hatseinenSchmerzdurch
Gebrdenausgedrckt)
1.DAME
Duwillstvermutlichwissen,
warumdieFrstindichheute
zowunderbarbestraft?
PAPAGENO
(bejahtes)
2.DAME
Damitduknftigniemehr
Fremdebelgst.
3.DAME
UnddichniederHeldentaten
rhmest,dieandere

95010MozartCompleteEdition
216

vollbracht.
1.DAME
Sagan!Hatdudiese
Schlangebekmpft?
PAPAGENO
(deutetNein)
2.DAME
Werwaresalso?
PAPAGENO
(deutet,erwisseernicht)
DIEDREIDAMEN
Wirwarens,Jngling,
diedichbefreiten.
3.DAME
Zittrenicht;dicherwartet
FreudeundEntzcken.
Hier,diesGemldeschickt
dirdiegroe
Frstin;esistdasBildnis
ihrerTochter.Findestdu,
sagtesie,dadieseZgedir
nichtgleichgltigsind,
dannistGlck,Ehr
undRuhmdeinLos.Auf
Wiedersehen.
(gehtab)
2.DAME
Adieu,MonsieurPapageno!
(gehtab)
PAPAGENO
(hatimmerseinstummes
Spielgehabt,gehtab)
TAMINO
(istgleichbeimEmpfangdes
Bildesaufmerksamgeworden;
seineLiebenimmtzu,obergleich
fralledieseRedentaubschien)

SzeneIV
Nr.3Arie
6.TAMINO
DiesBildnisistbezaubernd
schn,wienochkein
Augejegesehn!
Ichfhles,ichfhles,
wiediesGtterbild
meinHerzmitneuer
Regungfllt.
DiesEtwaskannich
zwarnichtnennen,
dochfhlichshierwie
Feuerbrennen;
solldieEmpfindungLiebesein?
Ja,ja,dieLiebeistsallein!
Owennichsienur
findenknnte!
Owennsiedochschon
vormirstnde!
Ichwrde,warmundrein,
waswrdeich?
IchwrdesievollEntzcken
andiesenheienBusen
drcken,
undewigwresiedannmein.
(Erwillgeradegehen,alsdie
Damenwiedererscheinen.)

SzeneV
7.1.DAME
RstedichmitMutund
Standhaftigkeit,


schnerJngling!
dieFrstin...
2.DAME
...hatmiraufgetragen,
dirzusagen...
3.DAME
...daderWegzudeinem
knftigenGlcknunmehr
gebahntsei.
1.DAME
siehatjedesdeinerWorte
gehrt,sodu
sprachtstsiehat...
2.DAME
...jedenZugindeinem
Gesichtegelesen,
jamehrnoch,ihr
mtterlichesHerz...
3.DAME
...hatbeschlossen,dichganz
glcklichzumachen.Hatdieser
Jngling,sprachsie,auchsoviel
MutundTapferkeit,alser
zrtlichist,soistmeineTochter
Paminaganzgewigerettet.
TAMINO
Entrissen?Sagt,Mdchen,sagt,
woistdesTyrannenAufenthalt?
2.DAME
SehrnaheanunserenBergen
lebterineinemangenehmen
undreizendenTale,aberseine
Burgistsorgsambewacht.
TAMINO
Kommt,Mdchen,fhrtmich!
Paminaseigerettet!Der
Bsewichtfallevonmeinem
Arm,dasschwreichbeimeiner
Liebe,beimeinemHerzen.
(Donner)IhrGtter,wasistdas?
1.DAME
EsverkndetdieAnkunft
unsererKnigin.
DIEDREIDAMEN
(einzeln)Siekommt!
(Donner)

SzeneVI
DieBergeteilensichunddieBhneverwandelt
sicineinprchtigesGemach.
Nr.4RezitativundArie
8.KNIGINDERNACHT
Ozittrenicht,mein
lieberSohn!
Dubistunschuldig,
weise,fromm.
EinJngling,zowiedu,
vermagambesten,
diestiefgebeugteMutterherz
zutrsten.
ZumLeidenbinichauserkoren,
dennmeineTochterfehletmir;
durchsiegingallmein
Glckverloren.
DerBsewichtentflohmitihr.
NochsehichihrZittern
mitbangemErschttern,
ihrschchternesStreben.
Ichmutesiemirraubensehen:
Ach,helft!Ach,helft
waralles,wassiesprach;

alleinvergebenswarihrFlehen,
dennmeineHilfewar
zuschwach.
Du,duwirstsiezu
befreiengehen,
duwirstderTochterRettersein.
Undwerdichdichals
Siegersehen,
soseisiedannaufewigdein.
(Sieentferntsichzusammenmit
dendreiDamen.)

SzeneVII
9.TAMINO
(nacheinerPause)
Istsdennauch
Wirklichkeit,wasichsah?
Oderbetubenmich
meineSinne.
(Erwillgehen,Papagenotritt
ihmindenWeg)

Nr.5Quintett
10.PAPAGENO
(deutettraurigaufdas
SchloanseinemMunde)
Hmhmhmhmhm
hmhmhm...
TAMINO
DerArmekannvon
Strafesagen,denn
seineSpracheistdahin.
Ichkannnichtstunals
dichbeklagen,weilichzu
schwachzuhelfenbin.
(DiedreiDamen
erscheinen.)

SzeneVIII
1.DAME
(zuPapageno)
DieKniginbegnadigtdich,
erltdieStrafedirdurchmich.
(Sienimmtihmdas
SchlovomMunde.)
PAPAGENO
NunplaudertPapagenowieder!
2.DAME
Ja,plaudre,lgenur
nichtwieder!
PAPAGENO
Ichlgenimmermehr,
nein,nein!
DIEDREIDAMEN
DiesSchlosolldeine
Warnungsein.
PAPAGENO
DiesSchlosollmeine
Warnungsein.
ALLE
BekmendochdieLgneralle
einsolchesSchlovor
ihrenMund;
stattHa,Verleumdung,
schwarzerGalle,
bestndeLiebundBruderbund.
1.DAME
(gibtTaminoeinegoldeneFlte)
OPrinz,nimmdies
Geschenkvonmir!
DiessendetunsreFrstindir.

95010MozartCompleteEdition
217

DieZauberfltewird
dichschtzen,
imgrtenUnglck
untersttzen.
DIEDREIDAMEN
Hiermitkannstdu
allmchtighandeln,
derMenschenLeidenschaft
verwandeln:
derTraurigewirdfreudigsein,
denHagestolznimmtLiebeein.
ALLE
OsoeineFlteistmehr
alsGoldund
Kronenwert,
denndurchsiewird
Menschenglckund
Zufriedenheitvermehrt.
PAPAGENO
Nun,ihrschnen
Frauenzimmer,
darfich,soempfehlichmich.
DIEDREIDAMEN
Dichempfehlenkannst
duimmer,
dochbestimmtdieFrstindich,
mitdemPrinzenohnVerweilen
nachSarastrosBurgzueilen.
PAPAGENO
Nein,dafrbedankichmich!
Voneuchselbstenhrteich,
daerwieeinTigertier.
SicherlieohnalleGnaden
michSarastrorupfen,
braten,rupfen,braten,rupfen,
braten,
setztemichdenHundenfr.
DIEDREIDAMEN
DichschtztderPrinz,
trauihmallein!
DafrsollstduseinDienersein.
PAPAGENO
(frsich)
DadochderPrinzbeim
Teufelwre!
MeinLebenistmirlieb:
amEndeschleicht,bei
meinerEhre,
ervonmirwieeinDieb.
1.DAME
(zuPapageno)
Hier,nimmdiesKleinod,
esistdein.
(SieberreichtihmeinKstchen
miteinemGlockenspiel.)
PAPAGENO
Ei,ei!Wasmagdarinnensein?
DIEDREIDAMEN
DarinnenhrstduGlckchen
tnen.
PAPAGENO
Werdichsieauchwohlspielen
knnen?
DIEDREIDAMEN
Oganzgewi,ja,ja,gewi!
ALLE
Silberglckchen,Zauberflten
sindzueurem/unsermSchutz
vonnten
Lebetwohl!Wirwollengehn.
Lebetwohl!aufWiedersehn!


TAMINO
Doch,schneDamen,sagetan...
TAMINO,PAPAGENO
...WomandieBurg
wohlfindenkann?
DIEDREIDAMEN
DreiKnbchen,jung,schn,
holdundweise,
Umschwebeneuchauf
eurerReise;
SiewerdeneureFhrersein,
folgtihremRateganzallein.
TAMINO,PAPAGENO
DreiKnbchen,jung,schn,
holdundweise,
umschwebenunsauf
unsrerReise.
DIEDREIDAMEN
SiewerdeneureFhrersein,
folgtihremRateganzallein.
ALLE
Solebetwohl,wirwollengehn.
Lebtwohl,lebtwohl,auf
Wiedersehn!
(Allegehenab.)

SzeneIX
SklaventragenschnePolsternebsteinem
prchtigen,trkischenTischheraus,breiten
Teppischeaus.
3.SKLAVE
Hihihihihi!
1.SKLAVE
Pst!Pst!
2.SKLAVE
WassolldenndasLachen?
3.SKLAVE
UnserPeiniger,deralles
belauschendeMohrwird
morgensicherlichgehangen
odergespietPamina!
1.SKLAVE
Nun?
3.SKLAVE
Dasreizende
Mdchen!
1.SKLAVE
Undsieentkam?
3.SKLAVE
Unfehlbar!
1.SKLAVE
Dank,ihrgutenGtter!
MONOSTATOS
He,Sklaven!
DIESKLAVEN
Monostatos!
MONOSTATOS
He,Sklaven!Schafft
Fesselnherbei!
DIESKLAVEN
Fesseln?
5.SKLAVE
(luftzurSeitentr)
DochnichtfrPamina?Oihr
Gtter!Daseht,Brder,das
Mdchenistgefangen.Seht,wie
derunbarmherzige
Teufelsiebeiihrenzarten
Hndenpacktdashalt
ichnichtaus.
(gehtaufdieandereSeiteab)

4.SKLAVE
Ichnochweniger.
(auchdortab)
3.SKLAVE
Sowassehenzumssenist
Hllenmarter!(ab)
(MonostatosSklavenschleppen
diegefangenePaminaherein)

SzeneX
Nr.6Terzett
11.MonotatosDufeines
Tubchen,nurherein!
PAMINA
OwelcheMarter,welchePein!
MOMOSTATOS
VerlorenistdeinLeben!
PAMINA
DerTodmachtmich
nichtbeben,
nurmeineMutterdauertmich;
siestirbtvorGramganz
sicherlich.
MONOSTATOS
He,Sklaven,legtihrFesselnan!
MeinHasolldichverderben.
PAMINA
Olamichliebersterben,
weilnichts,
Barbar,dichrhrenkann.
MONOSTATOS
Nunfort,nunfort!
Latmichbeiihrallein.
(Siesinktohnmchtigauf
dieOttomane.
DieSklavengehenab.)

SzeneXI
PAPAGENO
(amFenstervonauen)
Wobinichwohl?
Womagichsein?
Aha!DafindichLeute.
Gewagt,ichgehhinein!
(trittein)
SchnMdchen,jungundfein,
vielweiernochalsKreide.
(MonostatosundPapagenosehen
sichplzlichgegenbergestellt
underschreckenfurchtbar.)
MONOSTATOS,PAPAGENO
Hu!DasistderTeufelsicherlich,
dasistderTeufelsicherlich!
HabMitleid!Verschonemich!
Hu!Hu!Hu!
(Beidelaufeninentgegengesetzter
Richtungdavon.)

SzeneXII
12.PAMINA
(sprichtwieimTraum)
Mutter
MutterMutter!
(Sieerholtsich,siehtum)
Wie?NochschlgtdiesesHerz?
ZuneuenQualenerwacht?
O,dasisthart,sehrhart!
MirbittereralsderTod!

SzeneXIII
PAPAGENO

95010MozartCompleteEdition
218

BinichnichteinNarr,daich
michschreckenlie?Esgibt
dochschwarzeVgelinder
Welt,warumdennnichtauch
schwarzeMenschen?Ach,da
istjadasschneFruleinbild.
Du,Tochterdernchtlichen
Knigin...
PAMINA
NchtlicheKnigin?Werbist
du?
PAPAGENO
EinAbgesandterder
sternflammendenKnigin.
PAMINA
(freudig)
MeinerMutter?OWonne!
DeinName?
PAPAGENO
Papageno.
PAMINA
Papageno?Papageno...ich
erninneremich,denNamenoft
gehrtzuhaben,dichselbst
abersahichnie.
PAPAGENO
Ichdichebensowenig.
PAMINA
Dukennstalsomeinegute,
zrtlicheMutter?
PAPAGENO
WenndudieTochterder
nchtlichenKniginbistja!
PAMINA
Oichbines.
PAPAGENO
Daswillichgleicherkennen.
(ErsiehtdasPortraitan,welches
derPrinzzuvorempfangen,und
PapagenonunaneinemBand
amHalstrgt.)
Augenbraun...Augenbraun,
Haaredunkel...
Haaredunkel,Lippenrot...
Lippenrotallestrifftzu,bis
aufHndundFe.Nach
demGemldezuschlieen,
sollstduwederHndnoch
Fhaben.
PAMINA
WiekamesindeineHnde?
PAPAGENO
Dirdieszuerzhlen,wrezu
weitlufig;eskamvonHandzu
Hand.
PAMINA
Wieaberindiedeinige?
PAPAGENO
AufeinewunderbareArt.Ich
habeesgefangen.
PAMINA
Gefangen?
PAPAGENO
Dasmuichdirumstndlicher
erzhlen.Ichkamheutefrh,
wiegewhnlich,zudeiner
MutterPalastmitmeiner
Lieferung...
PAMINA
Lieferung?
PAPAGENO


Ja.IchliefereseitvielenJahren
allediewunderschnenbunten
VgelindenPalast.Ebenals
ichimBegriffwar,meineVgel
abzugeben,dasahicheinen
Menschenvormir,dersich
Prinznennenlt.Unddieser
PrinzhatdeineMuttersofr
sicheingenommen,dasieihm
deinBildnisschenkteundihm
befahl,dichzubefreien.Sein
Entschluwarebensorasch,wie
seineLiebezudir.
PAMINA
Liebe?(freudig)Erliebt
michalso!
O,sagemirdasnocheinmal,
ichhredasWortLiebe
garzugerne.
PAPAGENO
Dasglaubeichdir,ohnezu
schwren;dubistjaauchein
Fruleinbild.Wowarichjetzt
stehengeblieben?
PAMINA
BeiderLiebe.
PAPAGENO
Richtig,beiderLiebe!Alsodas
nennichGedchtnishaben!
Kurz,diesebergroeLiebezu
dirwarderPeitschenstreich,um
unsereFeinschnellenGang
zubringen;undjetztsindwir
hier,dirtausendschneund
angenehmeSachenzusagen;
dichinunsereArmezu
nehemen,undsoschnellwie
mglichwonichtnochschneller
alshierher,indeinerMutter
Palastzubringen.
PAMINA
Aber,lieberFreund,wennder
unbekannteJnglingoderPrinz,
wieersichnennt,Liebefrmich
fhlt,warumsumtersolange,
michvonmeinenFesselnzu
befreien?
PAPAGENO
DastecktjaderHaken!Wiewir
vondenJungfrauenAbschied
nehmen,sagtensieuns,drei
holdeKnabenwerdenunsere
Wegweisersein,siewrdenuns
lehren,wieundaufwelche
Weisewirhandelnsollen.
PAMINA
Sielehrteneuch?
PAPAGENO
Nichtslehrtensieuns,dennwir
habenkeinengesehen.Zur
SicherheitwarderPrinzsofein,
michvorauszuschicken,umdir
unsereAnkunftanzukndigen.
PAMINA
Freund,duhastvielgewagt!
WennSarastrodichhier
erblickensollte...
PAPAGENO
DannwirdmirmeineRckreise
erspartbleiben.Daskannich
mirdenken.

PAMINA
DeinmartervollerTodwrde
ohneGrenzensein.
PAPAGENO
Umdiesemauszuweichen,
gehenwirlieberbeizeiten.
PAMINA
WiehochmagdieSonnesein?
PAPAGENO
GegenMittag.
PAMINA
SohabenwirkeineMinutezu
versumen.UmdieseZeit
kommtSarastrogewhnlichvon
derJagdzurck.
PAPAGENO
Was?DerHerrSarastroistgar
nichtzuHause?Dahabenwir
gewonnenesSpiel!Komm,mein
schnesFruleinbild!Duwirst
Augenmachen,wennduden
schnenJnglingerblickst,
komm.
PAMINA
Freund,duhasteingefhlvolles
Herz.
PAPAGENO
Freilichhabeicheingefhlvolles
Herz!Aberwasntztmirdenn
dasalles?Ichknntmirdoch
allemeineFedernausrupfen,
wennichbedenke,da
Papagenonochkeine
Papagenahat.
PAMINA
ArmerMann!Duhast
nochkeinWeib?
PAPAGENO
Nochnichteinmalein
Mdchen,vielwenigereinWeib!
Ja,dasistbetrbt!Und
unsereinshatauchmanchmal
seinelustigenStunden,
womangern...
PAMINA
Papageno!
PAPAGENO
...gesellschaftlicheUnterhaltung
habenmchte.
PAMINA
Geduld,Freund!DerHimmel
wirdauchfrdichsorgen;er
wirddireineFreundinschicken,
ehedudirsvermutest.
PAPAGENO
Wennersienurbaldschickte.

Nr.7Duett
13.PAMINA
BeiMnnern,welcheLiebe
fhlen,fehltaucheingutes
Herzenicht.
PAPAGENO
DiesenTriebemitzufhlen,
istdannderWeibererstePflicht.
BEIDE
WirwollenunsderLiebefreun,
wierlebendurchdieLieballein.
PAMINA
DieLiebversetjedePlage,
ihropfertjedeKreatur.

95010MozartCompleteEdition
219

PAPAGENO
SiewrzetunsreLebenstage,
siewirktimKreisederNatur.
BEIDE
IhrhoherZweckzeigt
deutlichan,
nichtsedlersei,alsWeib
undMann,
MannundWeib,undWeib
undMann,
reichenandieGottheitan.
(beideab.)

SzeneXIV
Hain(ImHintergrundstehendreiTempel.Auf
demmitteleren,grtenstehendieWorte
TempelderWeisheitaufdemzurRechten
TempelderVernunft,aufdemzur
LinkenTempelderNatur.DreiKnabenfhren
TaminoaufdieSzene,derdieZauberflte
umgehngttrgt.)
Nr.8Finale
14.DIEDREIKNABEN
ZumZielefhrtdich
dieseBahn,
dochmut,Jngling,
mnnlichsiegen.
DrumhreunsreLehrean:
Seistandhaft,duldsamund
verschwiegen!
TAMINO
IhrholdenKnabe,sagtmiran,
obichPaminarettenkann?
DIEDREIKNABEN
Dieskundzutun,stehtuns
nichtan:
Seistandhaft,duldsam
undverschwiegen!
Bedenkedies;kurz,seieinMann,
dann,Jngling,wirstdu
mnnlichsiegen.
(DieKnabengehen
zusammenab.)

15.TAMINO
DieWeisheitslehre
dieserKnaben
seiewigmierinsHerzgegraben.
Wobinichnun?Waswird
mitmir?
IstdiesderSitzderGtterhier?
EszeigendiePforten,es
zeigendieSulen,
daKlugheitundArbeit
undKnstehierweilen;
woTtigheitthronetund
Miggangweicht,
erhltseineHerrschaftdas
Lasternichtleicht.
Ichwagemichmutigzur
Pfortehinein,
dieAbsichtistedelund
lauterundrein.
Erzittre,feigerBsewicht!
Paminaretten,istmirPflicht.
(ErgehtandiePforte
zurrechtenSeiten.)
EINESTIMME
(voninnen)
Zurck!
TAMINO


Zurck?Zurck?
(ErgehtandiePforte
zurlinkenSeite.)
Sowagichhier
meinGlck.
EINESTIMME
(voninnen)
Zurck!
TAMINO
Auchhierruftmanzurck?
(Erschautumher.)
DasehichnocheineTr!
Vielleichtfindichnocheinen
Einganghier.
(IndemersichderMittelpforte
nhert,ffnetsichdieseundein
alterPriester[Sprecher]
erscheint.)
SPRECHER
Wowillstdu,khner
Fremdling,hin?
Wassuchstduhierim
Heiligtum?
TAMINO
DerLiebundTugendEigentum.
SPRECHERDieWorte
sindvonhohemSinn!
Alleinwiewillstdudiesefinden?
DichleitetLiebund
Tugendnicht,
weilTodundRachedich
entznden.
TAMINO
NurRachefrdenBsewicht.
SPRECHER
Denwirstduwohlbei
unsnichtfinden.
TAMINO
Sarastroherrschtindiesen
Grnden?
SPRECHER
Ja,ja!Sarastroherrschethier.
TAMINO
DochindemWeisheitstempel
nicht?
SPRECHER
ErherrschtimWeisheitstempel
hier.
TAMINO
soistdennallesHeuchelei!
(Erwillgehen.)
SPRECHER
Willstduschonwiedergehn?
TAMINO
Ja,ichwillgehn,frohundfrei,
nieeurenTempelsehn!
SPRECHER
Erklrdichnhermir,
dichtuscheteinBetrug.
TAMINO
Sarastrowohnethier,
dasistmirschongenug.
SPRECHER
WenndudeinLebenliebst,
sorede,bleibeda!
Sarastrohassestdu?
TAMINO
Ichhassihnewig,ja!
SPRECHER
SogibmirdeineGrndean.
TAMINO

EristeinUnmensch,ein
Tyrann!
SPRECHER
Istdas,wasdugesagt,erwiesen?
TAMINO
DurcheinunglcklichWeib
bewiesen,
dasGramundJammer
niederdrckt.
SPRECHER
EinWeibhatalsodichberckt?
EinWeibtutwenig,
plaudertviel.
Du,Jngling,glaubstdem
Zungenspiel?
OlegtedochSarastrodir
dieAbsichtseiner
Handlungfr!
TAMINO
DieAbsichtistnurallzuklar!
RinichtderRuberohn
Erbarmen
PaminaausderMutterArmen?
SPRECHER
Ja,Jngling,wasdu
sagstistwahr.
TAMINO
Woistsie,dieerunsgeraubt?
Manopfertevielleichtsieschon?
SPRECHER
Dirdieszusagen,teurerSohn,
istjetzundmirnochnicht
erlaubt.
TAMINO
ErklrdiesRtsel,tusch
michnicht!
SPRECHER
DieZungebindetEid
undPflicht.
TAMINO
Wannalsowirddas
Dunkelschwinden?
SPRECHER
Sobalddichfhrtder
Freundschaft
HandinsHeiligtumzum
ewgenBand
(gehtab.)
TAMINO
OewgeNacht!Wannwirst
duschwinden?
WannwirddasLichtmein
Augefinden?
PRIESTERCHOR
(voninnen)
Bald,bald,
Jngling,odernie!
TAMINO
Bald,bald,sagtihrodernie?
IhrUnsichtbaren,sagetmir,
LebstdennPaminanoch!
PRIESTERCHOR
Paminalebetnoch!
TAMINO
Sielebt?Sielebt?Ichdanke
euchdafr.
Owennichdochimstandewre,
Allmchtige,zueurerEhre,
mitjedemTonemeinen
Dankzuschildern,
wieerhier,hierentsprang.

95010MozartCompleteEdition
220

(aufsHerzdeutend)
(TaminospieltdieFlte.Sogleich
kommenTierevonallenArten
hervor,umihmzuzuhren.)

16.Wiestarkistnicht
deinZauberton,
weil,holdeFlte,holdeFlte,
durchdeinSpielenselbstwilde
TiereFreudefhlen.
Doch,nurPaminableibtdavon!
Pamina!Pamina,hre,
hremich!
Umsonst,umsonst!
Wo?Wo?Ach,wofindichdich?
(Erspielt,undPapageno
antwortetvonweitemmitseinem
Waldfltchen.)
Ha,dasistPapagenosTon!
VielleichtsaherPaminaschon,
vielleichteiltsiemitihmzumir!
VielleichtfhrtmichderTon
zuihr.
(eiltfort.)

SzeneXV
(PapagenoundPaminakommenherbei.)
17.PAMINA,PAPAGENO
SchnellFe,
rascherMut
schtztvorFeindesList
undWut.
FndenwirTaminodoch,
sonsterwischensieunsnoch!
PAMINA
HolderJngling!
PAPAGENO
Stille,stille,ichkannsbesser!
(ErpfeiftaufdemFltchen.
Taminoantwortet.)
PAMINA,PAPAGENO
WelcheFreudeistwohlgrer?
FreundTaminohrtunsschon!
HierherkamderFltenton!
WelcheinGlck,wenn
ichihnfinde!
Nurgeschwinde,nur
geschwinde.
WelcheinGlck,etc.
(Alssiegehenwollen,trittihnen
Monstatosentgegen.)

SzeneXVI
MONOSTATOS
(sieverspottend)
Nurgeschwinde,
nurgeschwinde!
Ha,habicheuchnocherwischt!
NurherbeimitStahlundEisen!
Wart,ichwilleuchMores
weisen!
DenMonostatosbercken!
NurherbeimitBandund
Stricken!
He,ihrSklaven,kommtherbei!
PAMINA,PAPAGENO
Ach,nunistsmitunsvorbei!
MONOSTATOS
He,ihrSklaven,kommtherbei!
(SklavenkommenmitFesseln
herbei.)


PAPAGENO
Wervielwagt,gewinntoftviel!
Komm,duschnes
Glockenspiel,
ladieGlckenklingen,klingen,
dadieOhrenihnensingen!
(Papagenospieltaufseinem
Glockenspiel.Monostatosund
dieSklavenbeginnendanach
zutanzen.)
MONOSTATOS,SKLAVEN
Dasklingetsoherrlich,
dasklingetsoschn!
Larala,lala!
Niehabichsoetwas
gehrtundgesehn!
(Sieentfernensichsingend
undtanzend.)
PAMINA,PAPAGENO
KnntejederbraveMann
solcheGlckchenfinden,
seineFeindewrdendann
ohneMheschwinden,
underlebteohnesie
inderbestenHarmonie!
NurderFreundschaftHarmonie
mildertdieBeschwerden;
ohnedieseSympathie
istkeinGlckaufErden.
(EinMarschmitTrompetenund
Paukenflltein.)
CHOR
EslebeSarastro!
Sarastrolebe!
PAPAGENO
Wassolldasbedeuten?
Ichzittre,ichbebe!
PAMINA
OFreund,nunistsum
unsgetan,
dieskndigtden
Sarastroan!
PAPAGENO
OwricheineMaus,
wiewolltichmichverstecken!
WrichsokleinwieSchnecken,
wiekrchichinmeinHaus!
MeinKind,waswerdenwir
nunsprechen?
PAMINA
DieWahrheit,dieWahrheit,
wrsieauchVerbrechen!

SzeneXVII
(SarastroerscheintaufeinemvonsechsLwen
gezogenenTriumphwagenmitGefolge,
Priestern,VolkundSklaven.)
18.CHOR
EslebeSarastro!Sarastro
sollleben!
Eristes,demwiruns
mitFreudenergeben!
StetsmgerdesLebens
alsWeisersichfreun.
ErisunserAbgott,dem
allesichweihn.
PAMINA
(knietvorSarastro)
Herr,ichbinzwar
Verbrecherin,
ichwolltedeiner

Machtentfliehn!
Allein,dieSchuldist
nichtanmir:
derbseMohrverlangteLiebe;
darum,oHerr,entflohichdir.
SARASTRO
Stehauf,erheiterdich,oLiebe!
Dennohneerstin
dichzudringen,
weiichvondeinem
Herzenmehr:
duliebesteinen
anderensehr.
ZurLiebewillich
dichnichtzwingen,
dochgebichdir
dieFreiheitnicht.
PAMINA
MichrufetjadieKindespflicht,
dennmeineMutter...
SARASTRO
...stehtinmeinerMacht.
Duwrdestum
deinGlckgebracht,
wennichdichihren
Hndenliee.
PAMINA
Mirklingtder
Mutternamese!
Sieistes,sieistes...
SARASTRO
UndeinstolzesWeib!
EinMannmueureHerzen
leiten,
dennohneihnpflegtjedesWeib
ausseinemWirkungskreis
zuschreiten.

SzeneXVIII
(TaminowirdvonMonostatosherbeigezerrt.)
MONOSTATOS
Nun,stolzerJngling,
nurhierher!
HieristSarastro,
unserHerr.
PAMINA
Erists!
TAMINO
Sieists!
PAMINA
Ichglaubeskaum!
TAMINO
EsistkeinTraum!
PAMINA,TAMINO
EsschlingmeinArm
sichumihn/sieher...
undwennesauchmein
Endewr!
(Sieumarmensich.
Monstatostrenntsie.)
CHOR
Wassolldasheien?
MONOSTATOS
WelcheineDreistigkeit!
Gleichauseinander!
Dasgehtzuweit!
(ErknietvorSarastronieder.)
DeinSklaveliegtzu
deinenFen:
ladenverwegnen
Frevlerben!

95010MozartCompleteEdition
221

Bedenk,wiefrechder
Knabeist!
DurchdiesesseltnenVogelsList
(aufPapagenozeigend)
wollterPaminadir
entfhren;
alleinichwutihn
auszuspren.
Dukennstmich!Meine
Wachsamkeit...
SARASTRO
Verdient,damanihr
Lorbeerstreut!
He,gebtdemEhrenmann
sogleich...
MONOSTATOS
SchondeineGnade
machtmichreich!
SARASTRO
...nursiebenundsiebenzig
Sohlenstreich!
MONOSTATOS
AchHerr,achHerr,
denLohnverhofftichnicht!
SARASTRO
NichtDank,esistja
meinePflicht!
(Monostatoswirdabgefhrt.)
CHOR
EslebeSarastro,der
gttlicheWeise!
Erlohnetundstrafetin
hnlichemKreise.
SARASTRO
Fhrtdiesebeiden
Fremdlinge
inunsernPrfungstempelein;
bedecketihreHupterdann,
siemssenerstgereinigtsein.
(ZweiPriesterholenSchleierund
bedeckendamitdieHupter
PaminasundTaminos.)
CHOR
WennTugendund
Gerechtigkeit
derGroenPfadmit
Ruhmbestreut,
dannistdieErdein
Himmelreich,
undSterblicheden
Gtterngleich.

ZweiterAkt
SzeneI
Palmenwald(Priesterbetretenineinem
feierlichenAufmarschdieSzene.Sarastro
erscheintzuletztundstelltsichindieMitte.)
19.Nr.9MarschderPriester
20.SARASTRO
(nacheinerPause)
Ihreingeweihten
Dienerdergroen
GtterOsirisundIsis!
MitreinerSeeleerklr
icheuch,daunsereheutige
Versammlungeineder
wichtigstenunsererZeitist.
Tamino,einKniggssohn,
wandeltandernrdlichen
PforteunseresTempels
undwillseinen


nchtlichenSchleiervonsich
reienundinsHeiligtumdes
grtenLichtesblicken.Diesen
Tugendhaftenzubewachen,ihm
freundschaftlichdieHandzu
bieten,istheuteunserePflicht.
1.PRIESTER
(stehtauf)
ErbesitztTugend?
SARASTRO
Tugend!
2.PRIESTER
AuchVerschwiegenheit?
SARASTRO
Verschwiegenheit!
1.PRIESTER
Istwohlttig?
SARASTRO
Wohlttig!Haltetihrihnfr
wrdig,sofolgtmeinem
Beispiele.
(Sieblasendreimalindie
Hrner.)
21.GerhrtberdieEinigkeit
eurerHerzen,danktSarastro
euchimNamenderMenschheit.
DieGtterhabenPamina,das
holde,tugendhafte
MdchendemJngling
bestimmt,diesistderGrund,
warumichsiederMutterentri.
Dieses
Weibdnktsichgro,hofft
durchBlendwerkund
AberglaubendasVolkzu
bercken,undunsernfesten
Tempelbauzuzerstren.Allein,
dassollsienicht!
(DerdreimaligeAkkordmitden
Hrnernwirdvonallen
wiederholt.)
1.PRIESTER
(stehtauf)
GroerSarastro,deine
weisheitsvollenRedenerkennen
undbewundern
wir;allein,wirdTaminoauch
diehartenPrfungenzoseiner
harren,bestehen?Verzeih,da
ichsofreibin,dirmeinen
Zweifelzuerffnen!
MichbangtesumdenJngling.
Wennnun,imSchmerz
dahingesunken,seinGeistihn
verlieeund
erimhartenKampfunterlge?
EristPrinz.
SARASTRO
MehrnocheristMensch!
1.PRIESTER
Wennernunaberin
seinerfrhen
Jugendlebloserblate?
SARASTRO
DannisterOsirisundIsis
gegeben,
undwirdderGtterFreuden
frherfhlen,alswir.
(DreimaligerAkkordwird
wiederholt.)
ManfhreTaminomitseinem

GefhrtenindenVorhofdes
Tempelsein.

Nr.10ArieundChorderPriester
22.SARASTRO
OIsisundOsirisschenket
derWeisheitGeistdem
neuenPaar!
DieihrderWandrer
Schrittelenket
strktmitGeduldsie
inGefahr.
CHORDERPRIESTER
StrktmitGeduldsiein
Gefahr.
SARASTRO
LatsiederPrfung
Frchtesehen,
dochsolltensiezu
Grabegehen,
solohntderTugendkhnen
Lauf,
nehmtsieineuren
Wohnsitzauf.
CHORDERPRIESTER
NehmtsieineurenWohnsitzauf.
(Sarastroentferntsich
mitseinemGefolge.)

(CD167)
SzeneII
TaminoundPapagenowerdenverschleiert
hereingefhrt.DiePriesternehmendie
Schleierabundertfernensichdamit.Esist
Nacht.FernesDonnergrollen.
1.TAMINO
EineschrecklicheNacht!
Papageno,
bistdunochbeimir?
PAPAGENO
Ifreilich!
TAMINO
Wodenkstdu,dawirunsnun
befinden?
PAPAGENO
Ja,wennsnichtsodunkelwre,
dannwrdichdirdasja
sagenaberso...
(Donnerschlag)
TAMINO
Wasists?
PAPAGENO
Mirwirdnichtwohl
beiderSache!
TAMINO
DuhastFurcht,wieichhre.
PAPAGENO
Furchthabichnicht,nureiskalt
luftsmirberdenRcken.
(StarkerDonnerschlag)
TAMINO
Wassolls?
PAPAGENO
Ichglaube,ichbekommeein
kleinesFieber.
TAMINO
Pfui,Papageno!SeieinMann!
PAPAGENO
Ichwollt,ichwreinMdchen!
(EinsehrstarkerDonnerschlag)
O!o!o!Dasist

95010MozartCompleteEdition
222

meinletzterAugenblick!

SzeneIII
ZweiPriestermitFackeln
1.PRIESTER
IhrFremdlinge,wassuchtoder
fordertihrvonuns?Wastreibt
euchan,inunsere
Mauernzudringen?
TAMINO
FreundschaftundLiebe.
1.PRIESTER
Bistdubereit,siemit
deinemLeben
zuerkmpfen?
TAMINO
Ja!
1.PRIESTER
SelbstwennderTod
deinLoswre?
TAMINO
Ja!
1.PRIESTER
Prinz,nochistsZeit
zuweichen
einenSchrittweiter,
undesistzuspt.
TAMINO
WeisheitslehreseimeinSieg;
Pamina,
dasholdeMdchen,meinLohn!
1.PRIESTER
Duunterziehstdich
jederPrfung?
TAMINO
Jeder!
1.PRIESTER
ReichedeineHandmir!
(SiereichensichdieHnde)
2.PRIESTER
WillstauchdudirWeisheitsliebe
erkmpfen?
PAPAGENO
KmpfenistmeineSachenicht.
IchverlangeauchimGrunde
garnichtnach
Weisheit.Ichbinein
Naturmensch,dersichmit
Speise,SchlafundTrank
zufriedengibt;undwenn
esjaseinknnte,daichmir
einschnesWeibchen
fange...
2.PRIESTER
Diewirstdunieterhalten,
wenndu
dichnichtunseren
Prfungenunterziehst.
PAPAGENO
Worinbestehendiese
Prfungen?
2.PRIESTER
DichallenunserenGesetzenzu
unterwerfen,selbstdenTod
nichtscheuen.
PAPAGENO
Ichbleibeledig.
2.PRIESTER
Aberwenndudireinschnes,
tugendsamesMdchen
erwerbenknntest?


PAPAGENO
Ichbleibeledig.
2.PRIESTER
WennnunaberSarastrodirein
Mdchenaufbewahrthtte,das
anFarbeund
Kleidungdirganzgleichwre?...
PAPAGENO
Ganzgleich?Istsiejung?
2.PRIESTER
Jungundschn!
PAPAGENO
Undheit?
2.PRIESTER
Papagena.
PAPAGENO
Wie?Pa...?diemchtichaus
bloerNeugierdeschonsehen.
2.PRIESTER
Sehenkannstdusie!
PAPAGENO
Aberwennichsiegesehenhabe,
hernachmuichsterben?
2.PRIESTER
(machteinezweideutige
Pantomime)
PAPAGENO
Ichbleibeledig!
2.PRIESTER
Sehenkannstdusie,aberbiszur
verlaufnenZeitkeinWortmit
ihrsprechen.Wird
deinGeistzoviel
Standhaftigkeitbesitzen,deine
ZungeinSchrankenzuhalten?
PAPAGENO
Ja!
2.PRIESTER
DeineHand!Dusollst
siesehen.
1.PRIESTER
Auchdir,Prinz,legendieGtter
einheilsamesStillschweigenauf;
ohnediesesseidihr
beideverloren.DuwirstPmina
sehen,aber
niesiesprechendrfen;diesist
derAnfangeurer
Prfungszeit.

Nr.11Duett
2.DIEBEIDEPRIESTER
Bewahreteuchvor
Weibertcken.
DiesistdesBundeserstePflicht!
ManchweiserMannliesich
bercken,
erfehlte,undversahsichsnicht.
VerlassensahersichamEnde,
vergoltenseineTreumitHohn!
VergebensrangerseineHnde,
TodundVerzweiflungwarsein
Lohn.
(SiegehenmitdenFackelnfort,
wodurcheswiederdunkelwird.)

SzeneIV
3.PAPAGENO
He,Lichterher!Lichterher!
Dasistdochsonderbar:sooft
einendieHerren

verlassen,sosiehtmanmit
offenenAugennichts
mehr.
TAMINO
ErtragesmitGeduld
unddenke,esist
derGtterWille.

SzeneV
4.Nr.12Quintett
DIEDREIDAMEN
Wie?Wie?Wie?
IhrandiesemSchreckensort?
Nie,nie,nie,
kommtihrglcklich
wiederfort!
TaminodiristTodgeschworen.
DuPapagenobistverloren.
PAPAGENO
Nein,nein,nein,das
wrzuviel.
TAMINO
Papageno,schweigestill!
WillstdudeinGelbdebrechen?
NichtsmitWeibernhierzu
sprechen?
PAPAGENO
Duhrstja,wirsind
beidehin.
TAMINO
Stillesagich,schweigestill!
PAPAGENO
Immerstill,undimmerstill,
undimmerstill,und
immerstill.
DIEDREIDAMEN
GanznahisteuchdieKnigin,
siedrangimTempel
heimlichein.
PAPAGENO
Wie?Was?Siesollim
Tempelsein?
TAMINO
Stillesagich!Schweigestill!
Wirstduimmersovermessen
deinerEidespflichtvergessen?
DIEDREIDAMEN
Taminohr,dubistverloren,
gedenkeandieKnigin!
Manzischeltvielsichin
dieOhren,
vondieserPriester
falschemSinn.
TAMINO
(frsich)
einWeiserprft
undachtetnicht
wasdergemeinePbelspricht.
DIEDREIDAMEN
Mansagt,werihremBunde
schwrt,
derfhrtzurHllmit
HautundHaar.
PAPAGENO
DaswrbeimTeufelunerhrt!
Sagan,Tamino,istdaswahr?
TAMINO
GeschwtzvonWeibern
nachgesagt,
vonHeuchlernaberausgedacht.
PAPAGENO

95010MozartCompleteEdition
223

DochsagterauchdieKnigin
TAMINO
SieisteinWeib,hatWeibersinn.
Seistill,meinWortsie
dirgenug,
denkdeinerPflicht
undhandleklug.
DIEDREIDAMEN
(zuTamino)
Warumbistdu
mitunszosprde?
(Taminodeutetan,daernicht
sprechendarf.)
AuchPapagenoschweigt,
sorede!
PAPAGENO
Ichmchtegernewoll...
TAMINO
Still!
PAPAGENO
...Ihrseht,daichnichtsoll...
TAMINO
Still!
PAPAGENO
...Daichnichtkanndas
Plaudernlassen...
TAMINO
Dadunichtkannst...
...dasPlaudernlassen,
istwahrlicheineSchand
frdich!
DIEDREIDAMEN
WirmssensiemitScham
verlassen,
erplaudertkeinersicherlich.
TAMINO,PAPAGENO,
DRIEDAMEN
Sie}mssen{uns}mitSchamWirsie
verlassenusw.
ALLE
VonfestemGeisteisteinMann,
erdenket,wasersprechenkann.
PRIESTER
(ausdemHintergrund)
Entweihtist
dieheiligeSchwelle,
hinabmitdenWeibern
zurHlle!
DIEDREIDAMEN
Oweh!Oweh!
(SieversinkenmitDonner
undBlitz.)
PAPAGENO
Oweh!Oweh!Oweh!
(ErflltzuBoden.)

SzeneVI
(DiebeidenPriesterkommen.)
5.1.PRIESTER
Heildir,Prinz!Deinstandhaft
mnnlichesBetragenhatgesiegt.
Zwarhastdunoch
manchrauhenundgefhrlichen
Wegzuwandern,
denduabermitHilfederGtter
glcklichendigenwirst.Wir
wollenalsomitreinemHerzen
unsereWandeschaftweiter
fortsetezen.
(ErgibtihmdenSackum,ab.)
2.PRIESTER


Wassehich!Freund,steheauf!
Wieistdir?
PAPAGENO
IchliegineinerOhnmacht!
2.PRIESTER
Auf!Sammledich,und
seieinMann!
PAPAGENO
(stehtauf)
Abersagtmirdoch,ihr
liebenHerren,warummuich
dieseganzen
SchreckenundQualenerleiden?
WennmirdieGttereine
Papgenabestimmthaben,
warummuichsiemitall
diesenfurchtbarenGefahren
erringen?
2.PRIESTER
DieseneugierigeFragemagdir
deineVernunftbeantworten.
Komm!
(ErgibtihmdenSackum.)
PAPAGENO
Beisoeinerewigen
Wanderschaft,da
knnteeinemdieLiebe
auchaufimmervergehen.
(ab)
2.PRIESTER
Komm!
SZENEVII
EinGarten
(Paminaschlftim
Vollmondscheinineinervon
RosenberwachsenenLaube.)
MONOSTATOS
(kommt,setztsich
nacheinerPause)
BeiallenSternen!
DasMdchenwirdmich
nochummeinenVerstand
bringen.DasFeuer,dasin
mirglimmt,wirdmich
nochverzehren!
(Ersiehtsichallenthalbenum.)
Wennichwtedaichso
ganzalleinundunbelauscht
wre...ichwagteesnocheinmal.
(ErmachtsichWind
mitbeidenHnden.)
Esistdocheineverdammt
nrrischeSacheumdieLiebe!
EinKchen,dchteich,liee
sichentschuldigen.

Nr.13Arie
6.MONOSTATOS
AllesfhltderLeibeFreuden,
schnbelt,tndelt,herzt
undkt;
undichsolldieLiebemeiden,
weileinSchwarzerhlichist.
IstmirdennkeinHerzgegeben?
BinichnichtvonFleisch
undBlut?
ImmerohneWeibchenleben,
wrewahrlichHllenglut.
Drumsowillich,weilichlebe,
schnbeln,kssen,zrtlichsein.
LieberguterMondvergebe,

eineWeienahmmichein.
Weiistschn,
manmueskssen;
Mond,versteckedichdazu.
Solltesdichzusehrverdrieen
osomachdieAugenzu..
(ErschleichtzuPamina.)
SZENEVIII
DieKniginkommtunter
Donnerausdermittleren
Versenkung.
7.MONOSTATOS
(pralltzurck)
DieGttinderNacht!
(stehtganzstill)
PAMINA
Mutter!Mutter!MeineMutter!
(SieflltihrindieArme.)
KNIGIN
WoistderJngling,denichan
dichsandte?
PAMINA
AchMutter,deristder
Weltundden
Menschenaufewigentzogen.
Erhatsichden
Eingeweihtengewidmet.
KNIGIN
DenEingeweihten?
Unglckliche
Tochter,nunbistduauf
ewigmirentrissen.
PAMINA
Entrissen?Ofliehenwir,liebe
Mutter!UnterdeinemSchutz
trotzichjeder
Gefahr.
KNIGIN
Schutz?LiebesKind,deine
Mutter
kanndichnichtmehrschtzen.
MitdeinesVaters
TodgingmeineMachtzu
Grabe.Erbergab
freiwilligdensiebenfachen
Sonnenkreisden
Eingeweihten;diesen
mchtingenSonnenkreistrgt
SarastroaufseinerBrust.
DeinVatersprach:Sarastro
wirdihnsomnnlich
verwalten,wieichbisher.
ForschenichtnachWesen,
diedemweiblichenGeiste
unbegreiflichsind.
DeinePflichtist,dichunddeine
TochterderFhrungweiser
Mnnerzuberlassen.
PAMINA
LiebeMutter,soistder
Jnglingauf
immerfrmichverloren?
KNIGIN
Verloren,wenndunicht,ehdie
SonnedieErdefrbt,ihndurch
dieseunterirdischen
Gemcherzufliehenberredest.
DerersteSchimmerdesTages
entscheidet,oberganzdiroder
denEingeweihtengegebenist.
PAMINA

95010MozartCompleteEdition
224

LiebeMutter,drftichden
JnglingalsEingeweihtennicht
ebensozrtlichlieben,wieich
ihnjetztliebe?
KNIGIN
Washrich?soeinenMann
lieben,dermitmeinem
Todfeindeverbunden,mitjedem
AugenblickenurmeinenSturz
bereitenwrde?Siehstduhier
diesenStahl?EristfrSarastro
geschliffen.Duwirstihntten
unddenmchtigenSonnenkreis
mirberliefern.
PAMINA
Aber,liebsteMutter!
KNIGIN
KeinWort!

Nr.14Arie
8.KNIGIN
DerHlleRachekocht
inmeinemHerzen,
TodundVerzweiflung,
flammetummichher!
Fhltnichtdurchdich
SarastroTodesschmerzen,
sobistdumeineTochter
nimmermehr!
Verstoenseiaufewig,
verlassenseiaufewig,
zertrmmertseinaufewig,
alleBandederNatur,
verstoen,verlassenund
zertrmmert
alleBandederNatur,
wennnichtdurchdichSarastro
wirderblassen!
Hrt,hrt,hrt,Rachegtter!
HrtderMutterSchwur!
(SieversinktunterDonner.)

SzeneIX
9.PAMINA
Mordensollich?Gtter,das
kann
ichnicht.Daskannichnicht!
(stehtinGedanken)
Wassollichtun?
MONOSTATOS
Dichmiranvertrauen!
(nimmtihrdenDolchweg)
PAMINA
(erschricktundschreit)
Ha!
MONOSTATOS
Warumzitterstdu?Vormeiner
schwarzenFarbeodervordem
ausgedachtenMord?
PAMINA
(schchtern)
Duweitalso?
MONOSTATOS
Alles.DuhastnureinenWeg,
dichunddeineMutterzuretten.
PAMINA
Derwre?
MONOSTATOS
Michzulieben!
PAMINA
(zitternd,frsich)


Gtter!
MONOSTATOS
(freudig)
Nun,Mdchen!
Jaodernein?
PAMINA
(entschlossen)
Nein!

SzeneX
MONOSTATOS
(vollZorn)
Sostirb!
(ErergreiftsiebeiderHand.)
SARASTRO
(trittraschhinzu)
(Monostatoswillsich
hinwegstehlen.Sarastro
schleudertihnzurck.)
MONOSTATOS
Herr,meinUnternehmenist
nichtstrafbar;ichbin
unschuldig!Manhatdeinen
Todgeschworen,ichwollte
dichrchen.
SARASTRO
Ichweiwei,dadeineSeele
ebensoschwarzalsdein
Gesichtist.Geh!
MONOSTATOS
(imAbgehen)
Jetztsuchichdie
Mutterauf,damirdie
Tochternichtbeschieden
ist.(ab)

SzeneXI
PAMINA
Herr!Strafe
meineMutternicht,der
Schmerzbermeine
Abwesenheit
SARASTRO
Seiruhig,dusollstsehen,
wieich
michandeinerMutterrche.

Nr.15Arie
10.SARASTRO
IndiesenheilgenHallen
kenntmandieRachenicht,
undisteinMenschgefallen,
fhrtLiebeihnzurPflicht.
Dannwandelteran
FreundesHand
vergngtundfrohins
bessreLand.
IndiesenheilgenMauern,
woMenschdenMenschenliebt,
kannkeinVerrterlauern,
weilmandemFeindvergiebt.
WensolcheLehren
nichterfreun,
verdienetnichteinMensch
zusein.
(Beidegehenab)

SzeneXII
EineoffeneHalle.(TaminoundPapageno
werdenvondenPriesternhereingefhrt.)
11.1.PRIESTER

Hierseidihreuchnunbeide
alleineberlassen.Sobalddie
Posaunetnt,dannnehmtihr
eurenWegdahin.Prinz,lebt
wohl!Wirsehenuns,ehihr
ganzamZieleseid.Nocheins,
vergetdasWortnicht:
Schweigen.(ab)
2.PRIESTER
Papageno,werandiesemOrt
seinStillschweigenbricht,den
strafendieGtterdurch
DonnerundBlitz.
Lebwohl!
(ab)

SzeneXIII
TAMINO
(setztsichaufeineRasenbank)
PAPAGENO
(nacheinerPause)
Tamino!
TAMINO
(verweisend)
St!
PAPAGENO
DasisteinlustigesLeben!Wr
ichdochnurinmeiner
Strohhttegebliebenoderim
Wald,sohrtichdoch
manchmaleinenVogel
pfeifen!
TAMINO
(verweisend)
St!
PAPAGENO
Mitmirselberwerdichwohl
redendrfen;undauchwir
zweiknnen
miteinanderreden,wirsind
jaMnner.
TAMINO
(verweisend)
St!
PAPAGENO
(singt)
Lalalalalala!Nichteinmal
einenTropfenWasserbekommt
manvondiesenLeuten,viel
wenigersonstirgendwas.

SzeneXIV
(Einaltes,hlichesWeibkommtausder
Versenkung,hltaufeinerUntertasseeinen
grossenBechermitWasser.)
WEIB
(lacht)
PAPGAENO
(siehtsielangean)
Istdasfrmich?
WEIB
Ja,meinEngel!
PAPAGAENO
(siehtsiewiederan,trinkt)
Wasser.
Nichtmehrundnichtweniger
alsWasser.Sagmir
du,duunbekannteSchne,
werdenalleFremden
aufdieseWeisebewirtet?
WEIB

95010MozartCompleteEdition
225

FreilichmeinEngel!
PAPAGENO
So,so!Dannwerdensiewohl
nichtallzuhufigkommen.
WEIB
Sehrwenig.
PAPAGENO
Daskannichmirvorstellen!
Geh,Alte,kommsetzedichzu
mir,miristdieZeit
verdammtlangda.Sagmal,
wiealtbistdenndu?
WEIB
Wie?
PAPAGENO
Wiealtbistdenndu?
WEIB
AchtzehnJahrund
zweiMinuten.
PAPGENO
AchtzehnJahrundzwei
Minuten?
WEIB
Ja!
PAPGENO
Hahaha!Ei,dujunger
Engel,du!
Da,hastduaberaucheinen
Geliebten?
WEIB
Ifreilich,meinEngel!
PAPAGENO
Isterauchsojungwiedu?
WEIB
Nichtsogar,eristumzehn
Jahrelter.
PAPAGENO
UmzehnJahreisterlter?Das
mueineLiebesein!Wie
nenntsichdenndeinGeliebter?
WEIB
Papageno!
PAPAGENO
(erschrickt,Pause)
Papageno?
WEIB
Ja,meinEngel.
PAPAGENO
Woisterdenn,dieserdein
Papageno?
WEIB
Dastehter,meinEngel!
PAPAGENO
IchwrdeinGeliebter?
WEIB
JameinEngel!
PAPAGENO
(nimmtschnelldasWasser
undspritztihrinsGesicht)
Wieheitdenndu?
WEIB
Ichheie..
(StarkerDonner,dieAlte
hinktschnellab.)
PAPAGENO
Oweh!
TAMINO
(stehtaufunddroht
mitdemFinger)
PAPGENO
JetztsprechichkeinWortmehr!


SZENEXV
(DiedreiKnabenbringeneinen
mitSpeisenundGetrnkenreich
dekoriertenTischherin.
Einervonihnentrgtdie
goldeneFlte,einanderer
dasGlockenspiel.)

Nr.16Terzett
12.DIEDREIKNABEN
Seidunszumzweitenmal
willkommen,
ihr,Mnner,inSarastros
Reich.
Erschickt,wasman
euchabgenommen,
dieFlteunddie
Glckcheneuch.
WolltihrdieSpeisennicht
verschmhen,
soesset,trinketfrohdavon;
wennwirzumdrittenmal
unssehen,
istFreudeeuresMutesLohn.
Tamino,Mut!NahistdasZiel.
Du,Papageno,schweige
still,still.
(SiestellendenTischaufund
entfernensichdann.)

SzeneXVI
13.PAPAGENO
Tamino,wollenwirnicht
speisen?
TAMINO
(blstaufseinerFte)
PAPAGENO
BlasedunuraufdeinerFlte!
IchwilljetztmeineBrocken
blasen.AlsodieserHerr
Sarastroderfhrteinegute
Kche.Dawillich
schonschweigen,wennich
immersoguteBissen
vorgesetztbekomme.Jetztwill
ichsehen,obauch
derKellersogutbestelltist.
(Ertrinkt.)Ha!dasistein
Gtterwein!
(DieFlteschweigt.)

SzeneXVII
PAMINA
(freudig)
Duhier?IchhrtedeineFlte
undliefdemTonenach.Aber
dubisttraurig?Sprichstnicht
eineSilbemitdeinerPamina?
TAMINO
(seufzt)
Ah!
(winktihrfortzugehen)
PAMINA
Wie?Ichsolldichmeiden?
Liebstdumichnichtmehr?
TAMINO
(seufzt)
Ah!
(winktwiederfort)
PAMINA
Ichsollfliehen,ohne

zuwissenwarum?
TaminoLiebstdu
michnichtmehr?
TAMINO
(seufzt)
PAMINA
Papageno,sagdumir,
wasistmeinem
Freund?
PAPAGENO
(hateinenBrockenim
Munde,hltmit
beidenHndendieSpeisenzu,
winktfortzugehen)
Hm,hm,hm!
PAMINA
Wie?Auchdu?Erklre
mirwenigstensdieUrsache
euresSchweigens.
PAPGENO
St.
(Erdeutetihrfortzugehen.)
PAMINA
O,dasistmehralsTod!
(Pause)
Liebster,einzigerTamino!

Nr.17Arie
14.PAMINA
Achichfhls,esist
entschwunden,
ewighinderLiebeGlck!
Nimmerkommtihr
Wonnestunden
meinemHerzen
mehrzurck.
Sieh,Tamino,
dieseTrnenflieen,Trauter,
dirallein;
fhlstdunichtder
LiebeSehnen,
sowirdRuheimTodesein.
(Siegehttraurigdavon.)

SzeneXVIII
15.PAPAGENO
(ithastig)
Nichtwahr,Tamino,
ichkannauchschweigen.
Ja,beisoeinem
Unternehmen,dabin
icheinMann.(Ertrinkt.)
DerKochundder
Kellermeistersollenleben!
(DreimaligerPosaunenton)
TAMINO
(winktPapageno,
daergehensoll.)
PAPAGENO
Gehdunurvoraus,ichkomm
dannschonnach.
TAMINO
(willihnmitGewaltfortfhren,
drohtihmundgehtrechtsab;ist
aberlinksgekommen.)
PAPAGENO
Jetztwillichmirserstrecht
wohlseinlassen.Daichin
meinembestenAppetitbin,soll
ichgehen.Daslasseich
bleiben!Ichgingjetztnicht

95010MozartCompleteEdition
226

wegvonhier,undwennHerr
SarastroseineLwenvormich
spannte(DieLwenkommen
heraus,ererschrickt.)Tamino
rettemich!DieHerrenLwen
macheneineMahlzeitausmir!
TAMINO
(Kommtschnellzurckundblst
seineFlte.DieLwengehen
hinein,Taminowinktihm.)
PAPAGENO
Ichgehjaschon!Heidumich
einenSchelm,wennichdirnicht
inallemfolge.
(DreimaligerPosaunenton)
Dasgehtunsan.Wirkommen
schon.Aber,Tamino,sag,was
solldennnochallesmit
unswerden?
TAMINO
(deutetgenHimmel)
PAPAGENO
DieGttersollichfragen?
TAMINO
(deutet:ja)
PAPAGENO
Dieknnenuns
freilichmehrsagen
alswirwissen!
(DreimaligerPosaunenton)
TAMINO
(reitihnmitGewaltfort)
PAPAGENO
Tamino,eilenichtso,wir
kommen
immernochrechtzeitig
genug,umunsbratenzu
lassen.(ab)

SzeneXIX
ImInnerendesTempels
Nr.18ChorderPriester
16.PRIESTER
OIsisundOsiris,
WelcheWonne!
DiedstreNachtverscheucht
derGlanzderSonne.
Baldfhltderedle
JnglingneuesLeben;
baldisterunsremDienste
ganzergeben.
SeinGeististkhn,
seinHerzistrein,
bald,bald,baldwirder
unserwrdigsein.

SzeneXX
(Taminowirdhereingefhrt.)
17.SARASTRO
Prinz,deinBetragenwarbisher
mnnlichundgelassen;nun
hastdunochzwei
gefhrlicheWegezu
wandern.SchlgtdeinHerz
nochebensowarmfr
Pamina,undwnschestdu
einstalseinweiserFrstzu
regieren,somgendie
Gtterdichfernerbegleiten.
ManbringePamina!
DeineHand


(EineStilleherrscht
beiallenPriestern;
Paminawirdmitebendiesem
Sack,welcherdieEingeweihten
bedeckt,hereingefhrt;Sarastro
lstdieBandeamSackeauf.)
PAMINA
Wobinich?Welcheine
frchterlicheStille!Saget,
woistmeinJngling!
SARASTRO
Erwartetdeiner,um
dirdasletzte
Lebewohlzusagen.
PAMINA
DasletzteLebewohl?
Woister?
SARASTRO
Hier!
PAMINO
Tamino!
TaminoZurck!

Nr.19Terzett
18.PAMINA
Sollichdich,Teurer,
nichtmehrsehn?
SARASTRO
Ihrwerdetfroheuch
wiedersehn!
PAMINA
Deinwartentdliche
Gefahren!
TAMINO
DieGttermgenmich
bewahren!
PAMINA
DeinwartentdlicheGefahren!
TAMINO,SARASTRO
DieGttermgen
{mich}bewahren!ihn
PAMINA
DuwirstdemTode
nichtentgehen,
mirflstertdiesesAhnungein.
TAMINO,SARASTRO
DerGtterWillemag
geschehen,ihrWinksoll
mirGesetzesein.
PAMINA
Obliebtestdu,wieich
dichliebe,
duwrdestnichtsoruhigsein.
TAMINO,SARASTRO
Glaubmir,{ichfhle}gleicheerfhlet
Triebe,{werd}ewigdeinwird
Getreuersein.
SARASTRO
DieStundeschlgt,
nunmtihr
scheiden...
PAMINA,TAMINO
Wiebittersindder
TrennungLeiden!
SARASTRO
Taminomununwiederfort,
dieStundeschlgt,usw.
TAMINO
Pamina,ichmuwirklichfort!
PAMINA
Taminomununwirklichfort!

TAMINO
Pamina!
PAMINA
Tamino!
PAMINA,TAMINO
Lebewohl!
SARASTRO
Nuneilefort!Dichruftdein
Wort.
PAMINA,TAMINO
Ach,goldneRuhe,kehrewieder!
SARASTRODieStundeschlgt,
wirsehnunswieder!
PAMINA,TAMINO
Lebewohl!
(Sieentfernensichbeidein
verschiedeneRichtungen.)

SzeneXXI
EinSaalmitvielenTren.Papagenoerwartet
Tamino.
19.PAPGENO
(vonauen)
Tamino!Tamino!
Hastdumichdennganz
verlassen?(ersuchtherein)
Wennichwenigstenswte,wo
ichwre!Tamino!
Tamino!Solangichlebe,geh
ichnichtmehrvon
dir!Nurdiesmalverlassmich
armenReisegefhrtennicht!
(ErkommtandieTr,woerauf
denRegisseurtrifft.)
PONELLE
(ruft)
Zurck!
(DasFeuerschlgt
zurTrheraus.)
PAPAGENO
BarmherzigeGtter,
wennichnur
wte,woichhereinkam!
(wendetsichzumDirigenten)
LEVINE
Zurck!
PAPAGENO
Nunkannichnicht
mehrvorwrts
undnichtmehrrckwrts!
(weint)Undmuam
Endeverhungern!
Geschiehtmirschonrecht!
Warumbinichdenn
auchmitgereist.
2.PRIESTER
Mensch!Duhttestverdient,auf
immerinfinsterenKlften
derErdezuwandern;
diegtigenGtteraber
entlassendichderStrafe.
Dafraberwirstdudas
himmlischesteVergngender
Eingeweihtenniefhlen.
PAPAGENO
Jenun,esgibtjanochmehr
Menschenmeinesgleichen.Mir
wrejetzteingutesGlasWein
dashimmlischesteVergngen.
2.PRIESTER
SonsthastdukeinenWunsch

95010MozartCompleteEdition
227

indieserWelt?
PAPAGENO
Bisjetztnicht.
2.PRIESTER
Manwirddich
damitbedienen!
(Ab.Sogleichkommteingroer
BechermitrotemWeinangefllt
ausderErde.)
PAPAGENO
Daisterjaschon!(trinkt)
Herrlich!Himmlisch!
Gttlisch!Ichbinjetzt
sovergngt,daichbiszur
Sonnefliegenmchte,
wennichFlgelhtt.Mirwird
sowunderbarumsHerz!
Ichmchteichwnschte
ja,wasdenn?

Nr.20Arie
20.PAPAGENO
(begleitetsichmitdem
Glockenspiel)
EinMdchenoderWeibchen
wnschtPapagenosich,
JasoeinsanftesTubchenwr
Seligheitfrmich.
Dannschmecktemir
TrinkenundEssen,
dannknntichmit
Frstenmichmessen,
undwieimElysiumsein.
EinMdchenoder
Weibchen,usw.
Ach,kannichdenn
keinervonallen
denreizenden
Mdchengefallen?
Hlfeinemirnuraus
derNot,
sonstgrmichmich
wahrlichzuTod.
EinMdchenoder
Weibchen,usw.
WirdkeinemirLiebegewhren,
somumichdieFlamme
verzehren!
Dochktmichein
weiblicherMund,
sobinichgleichwiedergesund.

SzeneXXII
(DasalteWeibkommttanzendundsichdabei
aufihrenStocksttzendherein.)
21.WEIB
(lachend)
Dabinichschon,meinEngel!
PAPAGENO
Duhastdichmeinererbarmt?
WEIB
Ja,meinEngel!
PAPAGENO
DasisteinGlck!
WEIB
Undwennstmirversprichst,
mirewigtreu
zubleiben,dannsollstsehen,
wiezrtlichdeinWeiberldich
liebenwird.
PAPAGENO


Ei,duzrtlichesNrrchen!
WEIB
Owiewillichdich
umarmen,dich
liebkosen,dichan
meinHerzdrcken!
PAPAGENO
AuchnochansHerzdrcken!
WEIB
Komm,reichmirzum
PfandunsresBundes
deineHand!
PAPAGENO
Nurnichtsohastig,mein
schnerEngel!Ja,weitdu,so
einBndnis,dasbrauchtdenn
dochauchwohlseine
berlegung.
WEIB
Papageno,ichratedir,
zaudrenicht!
DeineHand,oderdu
bistaufimmerhier
eingekerkert.
PAPAGENO
Eingekerkert?
WEIB
Ja.WasserundBrot
wirddeinetglische
Kostsein.OhneFreund,
ohneFreundinmutdu
leben,undderWelt
aufimmerentsagen.
PAPAGENO
Wassertrinken?...derWelt
entsagen?Dawillichdoch
liebereineAltenehmen,als
garkeine.Hier,mein
schnerEngel.
HierhastdumeinHand
mitderVersicherung,da
ichdirewigtreubleibenwerde,
(frsich)solangich
keineSchnerefinde.
WEIB
Dasschwrstdu?
PAPAGENO
Ja,dasschwrich!
WEIB
(verwandeltsichineinjunges
Weib,welchesebensogekleidet
istwiePapageno)
PAPAGENO
PaPaPapagena!
(Erwillsieumarmen.)

SzeneXXIII
2.PRIESTER
(nimmtsiehastigbeiderHand)
Fortmitdir,jungesWeib!Erist
deinernochnicht
wrdig!(Erschlepptsiehinein)
PAPAGENO
(willnach)
2.PRIESTER
Zurck!sagich!oderzittre!
PAPAGENO
Ehichmichdajetzt
zurckziehe,
dasollmichdochdieErde
verschlingen.

(Ersinkthinab.)

SzeneXXIV
Palmengarten
Nr.21Finale
22.DIEDREIKNABEN
Baldprangt,denMorgen
zuverknden,
dieSonnaufgoldnerBahn,
baldsollderAberglaube
schwinden,
baldsiegtderweiseMann.
OholdeRuhe,steighernieder,
kehrinderMenschen
Herzenwieder;
dannistdieErdein
Himmelreich,
undSterblicheden
Gtterngleich.
(SiesehenPaminamiteinem
DochinderHand.)
1.KNABE
Dochseht,Verzweiflungqult
Paminen!
2.UND3.KNABE
Woistsiedenn?
1.KNABE
SieistvonSinnen.
DREIKNABEN
(abwechselnd)
Sieqult
verschmhterLiebeLeiden.
LatunsderArmenTrost
bereiten,
fhrwahr,ihrSchicksal
gehtunsnah.
OwrenurihrJnglingda!
Siekommt.Latuns
beiseitegehn,
damitwir,wassie
mache,sehn.

SzeneXXV
(PaminatrittaufundhltdenDochihrer
MutterinderHand.)
PAMINA
DualsobistmeinBrutigam?
Durchdichvollendich
meinenGram!
DIEDREIKNABEN
(beiseite)
WelchdunkleWorte
sprachsieda?
DieArmeistdem
Wahnsinnnah.
PAMINA
Geduld,meinTrauter,
ichbindein!
Baldwerdenwirvermhletsein!
DIEDREIKNABEN
WahnsinntobtihrimGehirne,
Selbstmordstehtauf
ihrerStirne.
HoldesMdchen,siehunsan!
PAMINA
Sterbenwillich,weilderMann,
denichnimmermehrkann
hassen,
seineTrautekannverlassen!
(aufdenDolchzeigend)
DiesgabmeineMuttermir.

95010MozartCompleteEdition
228

DIEDREIKNABEN
strafetGottandir.
PAMINA
LieberdurchdiesEisen
sterben,
alsdurchLiebesgramverderben!
Mutter,Mutter!durch
dichleideich,
unddeinFluchverfolgetmich.
DIEDREIKNABEN
Mdchenwillstdumit
unsgehn?
PAMINA
Ha!desJammersMaistvoll!
FalscherJngling,lebewohl!
Sieh,Paminastirbtdurchdich,
diesesEisenttemich!
(Siewillsicherstechen.)
DIEDREIKNABEN
(entreienihrdenDolch)
Ha!Unglckliche,haltein!
SolltediesdeinJnglingsehen,
wrdeervorGramvergehen;
dennerliebetdichallein.
PAMINA
Was?ErfhlteGegenliebe,
undverbargmirseineTriebe,
wandteseinGesichtvonmir?
Warumsprachernicht
mitmir?
DIEDREIKNABEN
Diesesmssenwir
verschweigen,
dochwirwollendirihnzeigen,
undduwirstmitStaunensehn,
daerdirseinHerzgeweiht,
unddenTodfrdich
nichtscheut.
Komm,wirwollenzu
ihmgehn.
PAMINA
Fhrtmichhin,ich
mchtihnsehn!
ALLE
ZweiHerzen,die
vorLiebebrennen,
kannMenschenohnmacht
niemalstrennen.
VerlorenistderFeindeMh,
dieGtterselbsten
schtzensie.
(Siegehenzusammenab.)

SzeneXXVI
(ZweigeharnischteMnnerstehenvorder
eiserenenPforte.Taminowirdvonden
Priesternhereingefhrt.)
23.ZWEIGEHARNISCHTE
Der,welcherwandert
dieseStraevollBeschwerden,
wirdreindurchFeuer,
Wasser,LuftundErden;
wennerderTodes
Schreckenberwindenkann,
schwingtersichausder
Erdehimmelan.
Erleuchtetwirderdann
imStandesein,
sichdenMysteriender
Isisganzzuweihn.
TAMINO


Michschrecktkein
TodalsMannzu
handeln,
denWegderTugend
fortzuwandeln;
schlietmirdie
Schreckenspfortenauf!
IchwagefrohdenkhnenLauf.
(ErgehtdemMitteltorezu.)
PAMINA
(voninnen)
Tamino,halt!Ichmu
dichsehn.
TAMINO
Washrich?PaminensStimme?
ZWEIGEHARNISCHTE
Ja,ja,dasistPaminensStimme!
TAMINO,ZWEI
GEHARNISCHTE
Wohl{mir},nunkannsiedir
mit{mir}gehn,dir
nuntrennet{uns}keineuch
Schicksalmehr,
wennauchderTod
beschiedenwr!
TAMINO
Istmirerlaubt,mitihrzu
sprechen?
ZWEIGEHARNISCHTE
Esisterlaubtmitihr
zusprechen.
TAMINO,ZWEI
GEHARNISCHTE
WelchGlck,wenn
wir{uns}wiedersehn,euch
frohHandinHand
inTempelgehn.
EinWeib,dasNachtund
Todnichtscheut,
istwrdigundwirdeingeweiht.
(DieTorewerdengeffnet;
TaminoundPamina
umarmensich.)
PAMINA
Taminomein!Owelch
einGlck!
TAMINO
Paminamein!Owelch
einGlck!
HiersinddieSchreckenspforten,
dieNotundTodmirdrun.
PAMINA
IchwerdeallerOrtenan
deinerSeitesein;
ichselberfhredich;
dieLiebeleitetmich!
(SienimmtihnbeiderHand)
SiemagdenWeg
mitRosenstreun,
weilRosenstetsbei
Dornensein.
spieldudieZauberfltean,
sieschtzeunsaufunsrerBahn.
Esschnittineiner
Zauberstunde
meinVatersieaus
tiefstemGrunde
dertausendjhrgenEicheaus,
beiBlitzundDonner,
SturmundBraus.
Nunkommmundspiel

dieFltean,
sieleiteunsaufgrauserBahn.
ZWEIGEHARNISCHTE,PAMINA,TAMIO
Wirwandeln}durchdesTonesIhrwandelt
Macht
frohdurchdesToderdstre
Nacht.
(TaminospieltaufseinerFlte,
PaminalegtihreHandaufseine
Schulterundgehtmitihmdurch
dieFeuerhhle.Dannumarmen
siesich.)

24.TAMINO,PAMINA
Wirwandeltendurch
Feuergluten,
bekmpftenmutigdieGefahr.
DeinTonseiSchutzin
Wasserfluten,
sowieeresimFeuerwar.
(WiederspieltTaminoaufseiner
Flte,whrendermitPamina
triumphierenddurchdie
Wasserflutenschreitet.Vorden
nunweitgeffnetenTempeltoren
erscheinensiewiederaufdervon
gleiendemLichterfllten
Szene.)
PAMINA,TAMIO
IhrGtter,welchein
Augenblick!
GewhretistunsIsisGlck!
CHOR
(innen)
Triumph,Triumph,Triumph!
DuedlesPaar!
BesiegethastdudieGefahr!
DerIsisWeiheistnundein!
Kommt,kommt,tretetinden
Tempelein.
(SarastrofhrtTaminound
PaminaindieHaupthalledes
Tempels.)

SzeneXXVII
EinGarten(Papageno,miteinemStrick
umgrtet,trittauf.)
25.PAPAGENO
(spieltaufseinemFltchen)
Papgena,Papagena,Papagena!
Weibchen,Tubchen,
meineSchne
Vergebens!
Ach,sieistverloren,
ichbinzumUnglck
schongeboren.
Ichplauderte,plauderte,
unddaswarschlecht,
unddrumgeschiehtes
mirganzrecht.
SeitichgekostetdiesenWein,
seitichdasschne
Weibchensah,
sobrenntsim
Herzenkmmerlein,
sozwickterhier,sozwicktesda.
Papagena!Herzensweibchen!
Papagena!LiebesTubchen!
sistumsonst,esistvergebens!
MdebinichmeinesLebens!
SterbenmachtderLiebeinEnd

95010MozartCompleteEdition
229

wennsimHerzen
nochsobrennt.
(ErnimmtdenStrick,deneran
demAsteinesBaumesbefestigt.)
DiesenBaumdawillichzieren,
miranihmdenHals
zuschnren,
weildasLebenmirmifllt.
GuteNacht,dufalscheWelt!
Weildubseanmirhandelst,
mirkeinschnesKind
zubandelst,
soistsaus,sosterbeich;
schneMdchen,
denktanmich,
WillsicheineummichArmen,
ehichhnge,nocherbarmen,
wohl,solaichsdiesmalsein!
Rufetnur:ja,odernein!
Keinehrtmich;allesstille,...
(Ersiehtsichum.)
...alles,alles,stille!
AlsoisteseuerWille?
Papgeno,frischhinauf!
endedeinenLebenslauf!
Nun,ichwartenoch,essei!
Bismanzhlet:eins,
zwei,drei!
Eins!...
Zwei!...
Drei!...
Nunwohlan,esbleibtdabei,
weilmichnichtszurckehlt;
guteNacht,dufalscheWelt!
(Erwillsichaufhngen.
DiedreiKnabeneilenherbei
undhaltenihnzurck.)
DIEDREIKNABEN
Haltein,haltein,
OPapageno!undseiklug,
manlebtnureinmal,
diesseidirgenug.
PAPAGENO
Ihrhabtgutreden,
habtgutscherzen:
dochbrennteseuch,
wiemichimHerzen,
ihrwrdetauchnach
Mdchengehn.
DIEDREIKNABEN
SolassedeineGlckchen
klingen,
dieswirddeinWeibchen
zudirbringen.
PAPAGENO
IchNarrvergader
Zauberdinge.
(ErnimmtseinGlockenspiel
zurHand.)
ErklingeGlockenspiel,erlinge!
Ichmumeinliebes
Mdchensehn.
(spieltdasGlockenspiel
undsingt)
Klinget,Glckchen,klinget
bringtmeinMdchenher!
Klinget,Glckchen,klinget!
SchafftmeinWeibchenher!
usw.
(DiedreiKnabenfhren
Papagenaherein.)


DIEDREIKNABEN
Nun,Papagenosiehdichum!
(Papagenosiehtsichumnach
Papagena.)
PAPAGENO,PAPAGENA
PaPaPa...usw.
PAPAGENO
Papagena!
PAPAGENA
Papageno!
PAPAGENO
Bistdumirnunganzgegeben?
PAPAGENA
Nunbinichdirganzgegeben.
PAPAGENO
Nun,seimeinliebesWeibchen!
PAPAGENA
Nun,seimeinHerzenstubchen.
PAPAGENO,PAPAGENA
Mein{liebesWeibchen!Herzenstubchen!
WelcheFreudewirddassein,
wenndieGtterunsbedenken,
unsrerLiebeKinderschenken,
soliebekleineKinderlein.
PAPAGENO
ErsteinenkleinenPapageno,
PAPAGENO
DanneinekleinePapagena.
PAPAGENO
DannwiedereinenPapageno,
PAPAGENA
DannwiedereinePapagena,
PAPAGENO
Papageno.
PAPAGENA
Papagena.
PAPAGENO,PAPAGENA
Papageno,Papageno.
Papagena,Papagena.
EsistdashchstederGefhle,
{Wennviele,vielewennvielePapapapa
geno
{PapapapapapapapagenaPapapapa
papapapageno
derElternSegenwerdensein,
usw.
(BeidegehenArminArmab.)

SchlussSzene
VordemTempel(DieKniginderNachtund
ihredreiDamentretenzusammenmit
Monostatosauf.)
26.ALLE
Nurstille,stille,stille,stille!
Balddringenwirim
Tempelein.
MONOSTATOS
Doch,Frstin,halteWort!
Erflle...deinKindmumeine
Gattinsein.
KNIGINDERNACHT
IchhalteWort,esist
meinWille,
meinKindsolldeine
Gattinsein!
DIEDREIDAMEN,KNIGINDERNACHT
Ihrmein}Kindsolldeine
Gattinsein!
(ManhrtDonnerund
GeruschevonWasser.)
MONOSTATOS

Dochstill,ichhreschrecklich
rauschen,
WieDonnertonundWasserfall.
KNIGINDERNACHT,DIEDREIDAMEN
Ja,frchterlichistdieses
Rauschen,wiefernen
DonnersWiderhall!
MONOSTATOS
Nunsindsieindes
TempelsHallen.
ALLE
(abwechselnd)
Dortwollenwirsieberfallen,
DieFrmmlertilgenvonder
Erd
MitFeuersglutundmchtgem
Schwert.
DIEDREIDAMEN,MONOSTATOS
Dir,
groeKniginderNacht,
SeiunsrerRacheOpfer
gebracht.
(starkerDonnerundBlitze)
ALLE
Zerschmettert,zernichtet
istunsereMacht,
Wirallegestrzetin
ewigeNacht.
(DieKninginderNacht,ihre
DamenundMonostaos
versinken.Sofortverwandeltsich
dieganzeSzeneineinen
Sonnentempel.Sarastrosteht
erhht,diePriesteraufbeiden
Seiten.TaminoundPaminasind
inPriestergwndergekleidet.)

27.SARASTRO
DieStrahlenderSonne
vertreibendieNacht,
ZernichtenderHeuchler
erschlicheneMacht.
CHOR
HeilseieuchGeweihten!
IhrdrangetdurchdieNacht.
Dank,Dank,Dank,
seidir,Osiris,
Dank,Dankdir,Isis,gebracht!
EssiegtedieTugendund
krnetzumLohn,
DieSchnheitundWeisheit
mitewigerKron.

28.DuettTamino,Papageno

LACLEMENZADITITO(CD169170)
Act1(CD169)
1.Overtura
AppartimentidiVitellia

(Recitativo)
VITELLIA
2.Mache?sempre
listesso,
Sesto,adirmiverrai?So,
chesedotto
fuLentulodate;chei
suoiseguaci
sonprontigia,cheil
Campidoglioacceso

95010MozartCompleteEdition
230

daramotoauntumulto.
Iotuttoquesto
giamillevolteudii,lamia
vendetta
mainonveggopero.
Saspettaforse
cheTitoaBerenicein
facciamia
offredamorinsano
lusurpatomiosoglio,ela
suamano?
Parla,di,chesattende?
SESTO
OhDio!
VITELLIA
Sospiri!
SESTO
Pensacimeglio,ohcara,
pensacimeglio.Ahnon
togliamoinTito
lasuadeliziaalmondo,il
PadreaRoma,
lamicoanoi.Frale
memorieantiche
trovalegual,sepuoi.
Fingitiinmente
Eroepiugeneroso,epiu
clemente.
Inutilchiama,perduotoil
giornoeidice,
incuifattononha
qualcunfelice.
VITELLIA
Dunqueavantarniin
faccia
venistiilmionemico?e
piunonpensi
chequestoEroeclemente
unsogliousurpa
dalsuotoltoalmio
padre?
cheminganno,chemi
sedusse,(equesto
eilsuofallomaggior)
quasiadamarlo.
Maunabarbara,Sesto,
unesuleantepormi,una
regina!
SESTO
Ahprincipessa,
tuseigelosa.
VITELLIA
Io!
SESTO
Si.
VITELLIA
Gelosaiosono,
senonsoffroun
disprezzo.
SESTO
Eppur...
VITELLIA
Eppurenonhaicor
dacquistami.
SESTO
Ioson...
VITELLIA
Tusei
scioltodognipromessa.
Amenonmanca
piudegnoesecutor


dellodiomio.
SESTO
Sentimi!
VITELLIA
Intesiassai.
SESTO
Fermati!
VITELLIA
Addio.
SESTO
Ah,Vitellia,ahmio
Nume,
nonpartir!dovevai?
perdonami,ticredo,io
mingannai.

(Duetto)
SESTO
3.Cometipiaceimponi:
Regolaimotimiei.
Ilmiodestintusei,
Tuttofaroperte.
VITELLIA
Primacheilsoltramonti,
Estintoiovolindegne.
Saichegliusurpaun
regno,
Cheinsorteilcielmidie.
SESTO
Giailtuofuror
maccende.
VITELLIA
Ebben,chepiusattenfe?
SESTO
Undolcesguardoalmeno
Siapremioallamiafe!
(Recitativo)
ADUE
Fanmilleaffettiinsieme
battagliainmespietata.
Unalmalacerata
piudellamianonve.

ANNIO
4.Amico,ilpassoaffretta;
Cesareasetichiama.
VITELLIA
Ah,nonperdete
questibrevimomenti.A
Berenice
Titogliusurpa.
ANNIO
Inngiustamenteoltraggi,
Vitellia,ilnostroEroe.
Titohalimpero
edelmondo,edise.Gia
persuocenno
Bereniceparti.
SESTO
Come?
VITELLIA
Chedici?
ANNIO
Voistupitearagion.
Romanepiange,
dimaraviglia,edi
piacere.Iostesso
quasinolcredo:edio
fuipresente,oVitellia,al
grandeaddio.
VITELLIA

(Ohsperanze!)
Sesto,sospendi
deseguireinieicenni;il
colpoanocra
nonematuro.
SESTO
Etunonvuoichio
vegga!...
chiomilagni,oh
crudele!...
VITELLIA
Orchevedesti?
dichetipuoilagnar?
SESTO
Dinulla.(OhDio!)
Chiprovomaitormento
egualealmio.

(Aria)
VITELLIA
5.Dehsepiacermivuoi,
Lasciaisospettituoi;
Nonmistancarcon
questo
Molestodubitar.
Chiciecamentecrede,
Impegneaserbarfede;
Chisempreinganni
aspetta
Alettaadingannar.
(parte)

(Recitativo)
ANNIO
6.Amico,eccoil
momento
direndermifelice.
Allamormio
Serviliapromettesti.Altro
nonmanca
chedAugustolassenso.
Oradalui
impetrarlopotresti.
SESTO
Ognituabrama,
Annio,mlegge.
Imazienteanchio
questonuovolegame,
Annio,desto.

(Duettino)
ANNIO,SESTO
7.Dehprendiundolce
amplesso,
Amicomiofedel;
Eognorpermelostesso
Tiserbiamicoilciel.
(partono)
(PartedelForoRomano
magnificamenteadornato
darchi,
obelischi,etrofei;in
facciaaspettoesteriore
delCampidoglio,e
magnificastrada,percui
viciascende.)
(Publio,senatoriromani,
eilegatidlleprovince
sogette,
destinatiapresentareal
senatogliannuiimposti

95010MozartCompleteEdition
231

tributi.
MentreTito,preceduto
dalittori,seguitoda
pretoriani,e
circondatodanumeroso
popolo,scendedal
Campidoglio,
cantarsiilseguente:)

8.Marcia

CORO
9.Serbate,ohDeicustodi
Dellaromanasorte,
InTitoilgiusto,ilforte,
Lonordinostraeta.
(Nelfinedelcoro
suddetto,AnnioeSesto
dadiverseparti.)

(Recitativo)
TITO
10.Basta,basta,ohmieifidi.
Sestoamesavvicini;
Anniononparta.
Ognaltrosallontani.
(Siritiranotuttifuori
dellatrio,evirimangono
Tito,SestoedAnnio.)

11.Marcia

ANNIO
12.(Adesso,ohSesto,
parlaperme.)
SESTO
Come,Signor,potesti
latuabellaregina?...
TITO
Ah,Sesto,amico,
cheterribilmomemto!Io
noncredei...
basta;hovinto;parti.
Tolgasiadesso
aRomaognisospetto
divederlamiasposa.Una
suafiglia
vuolverdersulmio
soglio,
aappargalaconvien.
Giacchelamore
scelseinvanoamieilacci,
iovo,chealmeno
lamicizialiscelga.Altuo
sunisca,
Sesto,ilcesareosangue.
Oggimiasposa
saralatuagermana.
SESTO
Servilia!
TITO
Appunto.
ANNIO
(Ohmeinfelice!)
SESTO
(OhDei!
Annioeperduto.)
TITO
Udisti?
chedici?nonrispondi?
SESTO


Echipotrebbe
risponderti,Signor?
Mopprimeasegno
latuabonta.Chenonho
cor...vorrei...
ANNIO
(Sestoeinpenaperme.)
TITO
Spiegatti.Iotutto
faropertuovantaggio.
SESTO
(Ahsiservalamico.)
ANNIO
(Annio,coraggio.)
SESTO
Tito...
ANNIO
Augusto,conosco
diSestoilcor.
Matuconsiglio
daluiprendernondei.
Comepotresti
sposaeleggerpiudegna
dellimperio,edite?
Virtu,belleza,
tuttoeinSevilla.Iole
conobbiinvolto
cheranataaregnar.
Demieipresagi
ladempimentoequesto.
SESTO
(Annioparlacosi?Sogno,
osondesto!)
TITO
Ebben,recanealei,
Annio,tulanovella.Etu
misiegui,
amatoSesto;equeste
tuedubbiezzedeponi.
Avraitalparte
tuancornelsoglio,e
tanto
tinnalzero,cherestera
benpoco
dellospazioinfinito,
chefrapposergliDeifra
Sesto,eTito.

(Aria)
TITO
13.Delpiusublime
soglio
Lunicofruttoequesto;
Tuttoetormentoilresto,
Etuttoeservitu.
Cheavrei,seancor
perdessi
Lesoleorefelici,
Chhonelgiovargli
oppressi,
Nelsollevargliamici;
Neldispensartesori
Almerto,eallavirtu?
(parlaconSesto)

(Recitativo)
ANNIO
14.Noncipentiam.Dun
generosoamante
eraquestoildover.Mio
cor,deponi

letenerezzeantiche;etua
sovrana
chifulidolotuo.
Cambiarconviene
inrispettolamore.
Eccola.OhDei!
mainonparvesibella
agliocchimiei.
SERVILIA
Mioben...
ANNIO
Taci,Servilia.Orae
delitto
ilchiamarmicosi.
SERVILIA
Perche?
ANNIO
Tiscelse
Cesare(chemartir!)per
suaconsorte.
SERVILIA
Iosposa
diCesare?Eperche?
ANNIO
Perchenontrova
belta,virtu,chesia
piudegnadinpero,
anima...ohstelle!
chediro?lascia,Augusta,
dehlasciamipartir.
SERVILIA
Cosiconfusa
abbandonarmivuoi?
Spiegati;dimmi,
comefu?Perqualvia?...
ANNIO
Miperdo,siononparto,
animamia.

(Duetto)
ANNIO
15.Ahperdonaalprimo
affetto
Questoaccento
sconsigliato;
Colpafudellabbrousato
Acosichiamartiognor.
SERVILIA
Ahtufostiilprimo
oggetto,
Chefinorfinorfedel
amai;
Etulultimosarai
Chabbianidoinquesto
cor.
ANNIO
Cariaccentidelmio
bene.
SERVILIA
Ohmiadolce,cara
speme.
SERVILIA,ANNIO
Piucheascoltoisensi
tuoi,
inmecrescepiulardor.
Quandounalmae
allaltraunita,
Qualpiaceruncor
risente!
Ahsitranchidallavita
Tuttoquelchenone

95010MozartCompleteEdition
232

amor.
(partono)
(Ritirodeliziosonel
soggiornoimperialesul
collePalatino.)

(Recitativo)
TITO
16.Chemirechiinquel
foglio?
PUBLIO
Innomieichiude
dereicheosarcon
temerariaccenti
deCesaregiaspenti
lamemoriaoltraggiar.
TITO
Barbarainchiesta,
cheagliestininongiova,
esomministra
millestradeallafrode
dinsidiarglinnoncenti.
PUBLIO
Mave,Signor,chi
lacerateardisce
ancheiltuonome.
TITO
Echepercio?selmosse
leggerezza;nolcuro;
sefollia;Iocompiango;
seragion;glisongrato!e
seinluisono
impetidimalizia;iogli
perdono.
PUBLIO
Almen...
SERVILIA
DiTitoalpie...
TITO
Servilia!Augusta!
SERVILIA
AhSignor,sigrannome
nondarmiancora.Odimi
prima.Iodeggio
palesartiunarcan.
TITO
Publio,tiscosta;
manonpartir.
(Publiosiritira.)
SERVILIA
Chedelcesaeroalloro
mefratantepiudegne,
generosoMonarca,inviti
aparte,
edonotal,chedestaria
tumulto
nelpiustupidocor...ma...
TITO
Parla...
SERVILIA
Ilcore,
Signor,nonepiumio.
Giadagrantempo
Anniomelorapi.Valor
chebasti,
nonhoperobliarlo.
TITO
Grazie,oNumidelciel.
Pursitiritrova
chisavventuriadispiacer
colvero.


Allagrandezzatuala
propriapace
Anniopospone!Turicusi
untrono
peresserglifedele!Edio
dovrei
turbarfiammesibelle!
Sgombraognitema.

(Aria)
TITO
17.Ah,sefosseintornoal
trono
Ognicorcosisincero,
nontormentounvasto
impero,
Masariafelicita.
Nondovrebberoi
regnanti
Tollerarsigraveaffanno,
Perdistinguer
dallinganno
linsidiataverita.
(parte)

(Recitativo)
SERVILIA
18.Feliceme!
VITELLIA
Possoallamiasovrana
offrirdelmiorispettoi
primiomaggi?
possoadorarquelvolto,
percuidamorferito,
haperduttoilriposoil
cordiTito?
SERVILIA
Nonessermecairata;
forselaregiadestraeate
serbata.
(parte)
VITELLIA
Ancoramischernisce?
Questosoffrirdeggio
vergrognosodisprezzo?
Ah,conqualfasto
quimilasciacostei!
barbaroTito,
ilpareadunquepoco
Bereniceantepormi?Io
dunquesono
lultimadeviventi.Ah,
tremaingrato,
tremadavermioddesa.
Oggiiltuosangue...
SESTO
Miavita.
VITELLIA
Ebben,cherechi?il
Campidoglio
eacceso?eincenerito?
Lentulodovesta?Titoe
punito?
SESTO
Nullaintrapresiancor.
VITELLIA
Nulla!esifranco
mitorniinnanzi?Econ
qualmertoardisc
dichiamarmituavita?
SESTO

Saunaragionpotesse
almengiutificarmi?
VITELLIA
Unaragione!
millenavrai,
eccotiaperta
unastradaallimpero.
Rendertifortunato
puolamiamano?Corri,
mivendica,esontua.
SESTO
Basta,bastanonpiu,gia
minspirasti,
Vitellia,iltuofuror.
Ardervedrai
frapocoilCampidoglio,
equestacciaro
nelsendiTito...
VITELLIA
Eh,nonticredo;
minganneraidinuovo.
Inmezzoallopra,
ricorderai...
SESTO
No;mipuniscaamore,
sepensoadingannarti.
VITELLIA
Dunquecorri;chefai?
Perchenonparti?

(Aria)
SESTO
19.Parto,matubenmio,
Mecoritornainpace;
Saroqualpiutipiace;
Quelchevorraifato.
Guardami,etuttooblio,
Eavendicartiiovolo;
Aquestosguardodolo
Damesipensera.
Ahqualpoter,ohDei!
Donasteallabelta.
(parte)

(Recitativo)
VITELLIA
20.Vedrai,Tito,vedrai,
chealfinsivile
questovoltonone.Basta
asedurti
gliamicialmen,sead
invaghirtiepoco.
Tipentirai...
PUBLIO
Tuqui,Vitellia?Ahcorri,
vaTitoalletuestanze.
ANNIO
Vitellia,ilpassoaffreyta,
Cesareditecerca.
VITELLIA
Cesare!
PUBLIO
Ancornolsai?
suaconsortetelesse.
ANNIO
TuseilanostraAugusta;e
ilprimoomaggio
giadanoitisirende.
PUBLIO
Ah,principessa,andiam;
Cesareattende.

95010MozartCompleteEdition
233

(Terzetto)
VITELLIA
21.Vengo...aspettate...Sesto!...
Ahime!...Sesto!...e
partito?...
Ohsdegnomiofunesto!
Ohinsanomiofuror!
Cheangustia,che
tormento!
Iogelo,ohDio!darror.
PUBLIO,ANNIO
Ohcomeungran
contento,
Comeconfondeuncor.
(partono)
(Campidoglio,come
prima.)

(Recitativoaccompagnato)
SESTO
22.OhDei,chesmaniae
questa,
chetumultohonelcor!
Palpito,agghiaccio,
mincammino,marresto;
ognaura,ognombra
mifatremare.Ionon
credae,chefosse
sidifficileimpresaesser
malvagio.
Macompirlaconvien.
Almensivada
convaloreperir.Valore!
Ecome
puoaverneuntraditor?
Sestoinfelice!
tutraditor!Cheorribil
nome!Eppure
taffrettiameritarlo.Echi
tradisci?
ilpiugrande,ilpiu
giusto,ilpiuclemente
Principedellaterra,acui
tudevi
quantopuoi,quantosei.
Bellamercede
glirendiinvero.Ei
tinnalzoperfati
ilcarneficesuo.
Minghiottailsuolo
primachiotaldivenga.
Ahnonhocore,
Vitellia,asecondargli
sdegnituoi.
Morreiprimadelcolpo
infacciaalui.
(SidestanelCampidoglio
unincendio
cheapocoapocova
crescendo.)
SESTO
Simpedisca...macome,
ardegiailCampidoglio.
Ungrantumultoiosento
darmi,edarmati:ahi!
tardoilpentimento.

(Quintettoconcoro)
SESTO
23.Deh,conservate,oh


Dei,
ARomailsuospendor,
Ohalmenoigiornimiei
Coisuoitroncateancor.
ANNIO
Amico,dovevai?
SESTO
Iovado...lasaprai.
OhDio,permiorossor.
(Ascendefrettolosonel
Campidoglio.)
ANNIO
IoSestononintendo...
MaquiServiliaviene.
SERVILIA
Ahchetumultoorrendo!
ANNIO
Fuggidiquamiobene.
SERVILIA
Sitemechelincendio
Nonsiadalcasonato,
Maconpeggiordisegno
Adartesuscitato.
CORO
(indistanza)
Ah!...
PUBLIO
VeinRomauna
congiura,
PerTitoahimepavento;
Diquestotradimento
Chimaisaralautor.
CORO
Ah!...
SERVILIA,ANNIO,
PUBLIO
Legridaahimechio
sento
CORO
Ah!...
SERVILIA,ANNIO,
PUBLIO
Mifangelardorror.
(Vitelliaentra.)
CORO
Ah!....
VITELLIA
ChiperpietadeohDio!
MadditadoveSesto?
(inodioamesonio
Edhodimeterror.)
SERVILIAANNIO,
PUBLIO
Diquestotradimento
Chimaisaralautor.
CORO
Ah!...ah!...
VITELLIA,SERVILIA,
ANNIO,PUBLIO
Legridaahimechio
sento
Mifangelardarror.
CORO
Ah!...ah!...
(Sestoscendedan
Campidoglio.)
SESTO
(Ahdovemaimascondo?
Apriti,ohterra,
inghiottimi,
Eneltuosenprofondo

Rinserrauntraditor.)
VITELLIA
Sesto!
SESTO
Damechevuoi?
VITELLIA
Quaisguardivibri
intorno?
SESTO
Mifaterrorilgiorno.
VITELLIA
Tito?...
SESTO
Lanobilalma
versodalsentrafitto.
SERVILIA,ANNIO,
PUBLIO
Qualdestrarea
macchiarsi
Poteduntaldelitto?
SESTO
Fuluompiuscellerato,
Lorrordellanatura,
Fu...
VITELLIA
Taciforsennato,
dehnontipalesar.
VITELLIA,SERVILIA,
SESTO,ANNIO,PUBLIO
Edunquelastroe
spento,
Dipaceapportator.
TUTTIeCORO
Ohnerotradimento
Ohgiornodidolor!

Act2(CD170)
Ritirodeliziosonelsoggiornoimperialesul
collePalatino.
(Recitativo)
ANNIO
1.Sesto,cometucredi,
Augustononperi.Calma
iltuoduolo;
inquestopuntoeitorna
illesodaltumulto.
SESTO
Eh!tuminganni.
Iostessolomiraicader
trafitto
dascelleratoacciaro.
ANNIO
No,travedesti.
Trailfumo,etrail
tumulto
altriTitotiparve.
SESTO
Altri!echimai
dellecesareevesti
ardirebbeadornarsi?Il
sacroalloro,
laugustoammanto...
ANNIO
Ogniargomentoevano,
viveTito,edeilleso.
Dunquetustessoalui
corri,elvedrai.
SESTO
ChiomipresentiaTito
dopaverlotradito?

95010MozartCompleteEdition
234

ANNIO
Tulatrdisti?
SESTO
Iodeltumulto,iosono
ilprimoautor.
ANNIO
Come!perche?
SESTO
Nonposso
dirtidipiu.
ANNIO
Sestoeinfidele!
SESTO
Amico,
mhaperdutoun
instante.Addio!Minvolo
allapatriapersempre.
Ricordatidime.
ANNIO
Fermati;ohDei!
pensiamo...incolpan
molti
diquestoincendioilcaso;
elacongiura
nonecertafinora...
SESTO
Ebben,chevuoi?
ANNIO
Chetunonpartaancora.

(Aria)
ANNIO
2.TornadiTitoalato;
Torna,elerrorpassato
Conreplicateemenda
Provedifedelta.
Lacerbotuodolore
Esegnomanifesto,
Chedivirtunelcore
Limmaginetista.
(parte)

(Recitativo)
SESTO
3.Partirdeggio,orestar?
Iononhomente
perdistinguerconsigli.
VITELLIA
Sesto,fuggi,conserva
latuavita,elmioonor.
Tuseiperduto,
sealcuntiscopre,ese
scopertosei,
pubblicoeilmiosegreto.
SESTO
Inquestoseno
sepoltorestera.Nessuno
ilseppe.
Tacendolomorro.

PUBLIO
4.Sesto!
SESTO
Chechieldi?
PUBLIO
Latuaspada.
SESTO
Eperche?
PUBLIO
Vieni.
VITELLIA


(Ohcolpofatale!)
SESTO
(dlaspada)
Alfin,tiranna...
PUBLIO
Sesto,partirconviene.E
giaraccolto
perudirtiilsenato;enon
possio
differirdicondurti.
SESTO
Ingrata,addio!

(Terzetto)
SESTO
5.Sealvoltomaitisenti
Lieveaurachesaggiri,
Gliestremimieisospiri
Quelleallitosara.
VITELLIA
(Permevientrattoa
morte:
Ahdovemaisascondo!
Frapoconotoalmondo
Ilfallomiosara.)
PUBLIO
Vieni...
SESTO
(aPublio)
Tiseguo...
(aVitellia)
addio.
VITELLIA
(aSesto)
Senti...miperdo...Oh
Dio!
(APublio)
Checrudelta!
SESTO
(aVitellia,inattodi
partire)
Rammentachitadora
Inquestostatoancora.
Mercedealmiodolore
Siaalmenlatuapieta.
VITELLIA
(milaceranilcore
Rimorso,orror,spavento!
Quelchenellalmaio
sento
Diduolmorirmifa.)
PUBLIO
Lacerboamaropianto,
Chedasuoilumipiove,
Lanimamicommove,
mavanaelapieta!
(PublioeSestopartono
conleguardie,e
Vitelliadallaparte
opposta.)
(Gransaladestinataalle
pubblicheudienze.)

CORO
6.Ahgraziesiredano
Alsommofattor,
CheinTitodetrono
SalvoIosplendor.
TITO
Ahno,sventurato
Nonsonocotanto,

SeinRomailmiofato
Sitrovacompianto,
SevotiparTito
Siformanoancor.
CORO
Ahgraziesirendano
Alsommofattor,
CheinTitodeltrono
SalvoIosplendor.

(Recitativo)
TITO
7.Andremo,
Publio,frapoco.Ionon
avreiriposo,
sediSestoildestino
prianonsapessi.Avrail
Senatoomai
lesuediscolpeudite;avra
scoperto,
vedrai,cheglie
innocente;enon
dovrebbe
tardarmoltolavviso.
PUBLIO
Ahtroppochiaro
Lentulofavello.
TITO
Epuoi
crederSestoinfedele?Io
dalmiocore
ilsuomisuro;eun
impossibilparmi
cheglimabbiatradito.
PUBLIO
Ma,Signor,nonhantutti
ilcordiTito.

(Aria)
PUBLIO
8.Tardisavede
Duntradimento
Chimaidifede
Mancarnonsa.
Uncorverace
Pienodonore
Noneportento
Seognaltrocore
Credeincapace
Dinfedelta.
(parte)

(Recitativo)
TITO
9.No,cosiscellerato
ilmioSestononcredo.
Annio,cherechi?
LinnocenzadiSesto?
Consolami!
ANNIO
Signor!pietaperlui
adimplorariovengo.
PUBLIO
Cesare,noldissio.Sestoe
lautore
dellatramacrudel.
TITO
Publio,edevero?
PUBLIO
Purtroppo;eidisua
bocca

95010MozartCompleteEdition
235

tuttoaffermo.Co
compliciilsenato
allefiereilcondanna.
Eccoildecreto
terribile,magiusto;
nevimanca,oSignor,
cheilnomeaugusto.
TITO
OmnipossentiDei!
ANNIO
Ah,pietoso,monarca...
TITO
Annio,perora
lasciamiinpace.
PUBLIO
Allagranpompaunite
saichelegentiomai...
TITO
Losopartite!
ANNIO
Deh,perdona,sioparlo
infavorduninsano
Dallamiacarasposaegli
egermano.

(Aria)
ANNIO
10.Tufostitradito;
Eidegnoedimorte,
MailcorediTito
Purlasciasperar.
Dehprendiconsiglio,
Signor,daltuocore:
Ilnostrodolore
Tidegnamirar.
(PublioedAnnio
partono.)

(Recitativoaccompagnato)
TITO
11.Cheorror!che
tradimento!
Chenerainfedelta!
Fingersiamico!
essermisemprealfianco:
ognimonmento
esigerdalmiocore
qualcheprovadamore;e
starmiintanto
preparandolamorte!Ed
iosospendo
ancorlapena?ela
sentenzaancoranon
segno?
Ahsi,loscelleratomora!
mora...masenzaudirlo
mandoSestoamorir?Si:
gialintense
abbastanzailsenato.E
segliavesse
qualchearcanoa
svelarmi?
Ola!Sascolti,
apoivadaalsupplicio.

(allaguardiacheentra)
12.AmesiguidiSesto.
(Laguardiaparte.)
Epurdichiregna
infedeliceildestino!A
noisinega


ciocheapiubassiedato.
Inmezzoalbosco
quelvillanelmendico,a
cuicirconda
ruvidalanailrozzo
fianco,acui
emalfidoriparo
dallingiuriedelciel
tugurioinforme,
placidoisonnidorme,
passatranquilloidi.
moltononbrama:
sachilodia,echilama:
unitoosolo
tornasicuroallaforesta,
almonte;
evedeilcoreciascheduno
infronte.

(Terzetto)
SESTO
(frailguardieePublio,entraesiferma)
13.(QuellodiTitoeil
volto!
Ahdoveohstelle!e
andata
Lasuadolcezzausata!
Oreimifatremar!)
TITO
(EterniDei!diSesto
Dunqueilsembiantee
questo!
Ohcomepuoundelitto
Unvoltotrasformar!)
PUBLIO
(Millediversiaffetti
InTitoguerrafanno.
Seiprovauntale
affanno,Loseguitaad
amar.)
TITO
Avvicinati!
SESTO
(Oh!voce
Chepiombamisulcore.)
TITO
Nonodi?
SESTO
(Disudore
MisentoohDiobagnar!)
TITO,PUBLIO
(Palpitailtraditore,
Negliocchiardisce
alzar.)
SESTO
(OhDio!nonpuochi
more
Nonpuodipiupenar.)

(Recitativo)
TITO
14.(Eppurmifapieta.)
Publio,custodi,
lasciatemiconlui.
(Publioeleguardie
partono.)
SESTO
(No,diquelvolto
nonhocostanzaa
sostenerlimpero.)
TITO

Ah,Sesto,dunqueevero?
Dunquevuoilamia
morte?Inchetoffense
iltuoPrence,iltuoPadre,
iltuoBenefattor?SeTito
Augusto
haipotutoobliar,diTito
amico
comenontisovenne?
SESTO
Ah,Tito,ah,mio
clementissimoPrence,
nonpiu,nonpiu;setu
vederpotessi
questomiserocor;
spergiuro,ingrato,
purtifereipieta.Tutteho
sugliocchi,
ibeneficituoi;soffrir
nonposso,
nelideadimestresso,
nelapresenzatua!
TITO
Odimi,ohSesto;
siamsoli;iltuosovrano
nonepresente.Apriil
tuocoreaTito;
confidatiallamico.ioti
prometto,
cheAugustonolsapra.
Deltuodelitto
dilaprimacagion.
Cerchiamoinsieme
unaviascusarti.Ione
sarei
forseditepiulieto.
SESTO
Ah,lamiacolpa
nonhadifesa.
TITO
Etaci?Enonrispondi?
Ah,giacchepuoi
tantoabsusardimia
pieta.
SESTO
Signore...
sappidunque...(chefo?)
TITO
Sieggi.
SESTO
(Maquando
finirodipenar?)
TITO
Parlaunavolta:
chemivolevidir?
SESTO
Chiosonloggetto
delliraDei;chelamia
sorte
nonhopiuforzaa
tollerar;chiostesso
traditormiconfesso,
empiomichiarmo;
chiomeritolamorte,e
chiolabramo.
TITO
Sconoscente!elavrai.
(alleguardie)
Cutodi,ilreo
toglietemidinnanzi.
SESTO

95010MozartCompleteEdition
236

Ilbacioestremo
suquellainvitaman.
TITO
Parti;nonepiutempo,
ortuogiudicesono.
SESTO
Ah,siaquesto,Signor,
lultimodono.

(Rondo)
SESTO
15.Dehperquesto
istantesolo
Tiricordailprimoamor.
Chemorirmifadiduolo
Iltuosdegnoiltuorigor.
Dipeitadeindegnoe
vero,
Solspirariodeggioorror.
Pursaretimensevero,
Sevedessiquestocor.
Disperatovadoamorte;
Mailmorirnonmi
tormenta
Chefuitecountraditor!
(Tantoaffannosoffreun
core,
Nesimoredidolor!)
(parte)

(Recitativo)
TITO
16.Ovesintesemaipiu
contumace
infedelta?Deggioallamia
negletta
disprezzataclemenzauna
vendetta.
Vendetta!...ilcordiTito
talisensiproduce?...Eh
viva...invano
parlandunqueleleggi?
Io,lorcustode
leseguiscocosi?DiSesto
amico
nonsaTito
scordarsi?...Ognaltro
effetto
damicizia,epietataccia
perora.
Sestoereo;Sestomora.
Madunquefaccio
sigranforzaalmiocor.
Nealmensicuro
sarochaltrilapprovi?
Ah,nonsilasci
ilsolitocammin...
Vivalamico!
bencheinfedele.
TITO
Publio.
PUBLIO
Cesare.
TITO
Andiamo
alpopolo,cheattende.
PUBLIO
ESesto?
TITO
ESesto,
venga,allarenaancor.


PUBLIO
Dunqueilsuofato?...
TITO
Si,Publio,egiadeciso.
PUBLIO
(Ohsventurato!)

(Aria)
TITO
17.Seallimpero,amici
Dei,
Necessarioeuncor
severo;
Otoglieteamelimpero,
Oamedateunaltrocor.
Selafederegnimiei
Collamrnonassicuro:
Dunafedenonmicuro,
Chesiafruttodeltimor.
(parte)

(Recitativo)
VITELLIA
18.Nongiovalusingarsi;
Sestogiamiscroperse.
SERVILIA
Ah,Vitellia!
ANNIO
Ah,principessa!
SERVILIA
Ilmiserogermano...
ANNIO
Ilcaroamico....
SERVILIA
Econdottoamorir.
VITELLIA
Machepossoperlui?
SERVILIA
Tutto,atuoiprieghi
Titolodonera.
ANNIO
Nonpuonegarlo
allanovellaAugusta.
VITELLIA
Annio,nonsono
Augustaancor.
ANNIO
Priachetramontiilsole
Titosaratuosposo.or,
mepresente,
perlepompefestiveil
cennoeidiede.
(parte)
VITELLIA
(DunqueSestoha
taciuto!ohamore!oh
fede!)
SERVILIA
Tupiangi!
VITELLIA
Ahparti!
SERVILIA
Matupercherestar?
Vitellia,ahparmi...
VITELLIA
Oh,Dei!Parti,verro;non
tormentarmi.

(Aria)
SERVILIA
19.Saltrochelacrime

Perluinontenti,
Tuttoiltuopiangere
Nongiovera.
Aquestainutile
Pietachesenti,
Ohquantoesimile
Lacrudelta.
(parte)

(Recitativoaccompagnato)
VITELLIA
20.Eccoilpunto,o
Vitellia,
desaminarlatua
costanza:avrai
valorchebastiariminar
esangue
iltuoSestofedel?Sesto,
chetama
piudellavitasua?Che
pertuacolpa
divennereo?Chetubbidi
crudele?
Cheingiustatadoro?Che
infacciaamorte
sigranfedetiserba,etu
frattanto
nonignotaatestessa,
andraitranquilla
altalamodAugusto?Ah
mivedrei
sempreSestodintorno;e
llaure,eisassi
ternereicheloquaci
miscoprisseroaTito.A
piedisuoi
vadasiiltuttoapalesar,Si
scemi
ildelittodiSesto,
sescursanonsipuo,
colfallomio.
Dimperoedimenei,
speranze,addio.

(Rondo)
VITELLIA
21.Nonpiudifiori
Vaghecatene
DiscendaImene
Adintrecciar.
Strettafrabarbare
Aspreritorte
Veggolamorte
Vermeavanzar.
Infelice!qualorrore!
Ahdimechesidira?
Chivedesseilmiodolore,
Puravriadimepieta.
(parte)
(Luogomagnifico,che
introduceavasto
anfiteatro,
dacuiperdiversiarchi
scopresilaparteinterna.
Sivedrannoginellarena
icomplicidellacongiura
condannatiallefiere.)

(Coro)
CORO
22.Chedelciel,chedegli

95010MozartCompleteEdition
237

Dei
Tuilpensier,lamortu
sei,
GrandEroe,nelgiro
angusto
Simostrodiquestodi.
Ma,cagniondi
maraviglia
Nonegia,feliceAugusto,
ChegliDeichilor
somiglia,
Custodiscanocosi.

(Recitativo)
TITO
23.Sesto,detuoidelitti
tusailaserie,esai
qualpenatisidee.Roma
sconvolta,
loffesaMaesta,leleggi
offese,
lamiciziatradita,il
mondo,ilcielo
voglionlamortetua.
Detradimenti
saipurchiosonlunico
oggetto;orsenti.
VITELLIA
Eccoti,eccelsoAugusto,
eccotialpielapiu
confusa...
(singinocchia)
TITO
Ahsorgi,
chefai?chebrami?
VITELLIA
Ioticonducoinnazi
lautordellempiatrama.
TITO
Ove?Chemai
preparotanteinsidieal
vivermio?
VITELLIA
Nolcrederai.
TITO
Perche?
VITELLIA
Perchesonio.
TITO
Tuancora?
Equantimai,
quantisieteatradirmi?
VITELLIA
Iolapiurea
sondiciascuno!Io
meditailatrama;
ilpiufedeleamico
iotisedussi;iodelsuo
ciecoamore
atuodannoabusai.
TITO
Madeltuosdegno
chifucagnion?
VITELLIA
Latuabonta.Credei
chequestafosseamor.La
destraeltrono
datesperavaindono,e
poinegletta
restaipiuvolte,e
procuraivendetta.

(Recitativoaccompagnato)
TITO
24.Machegiornoemai
questo?Alpuntostesso
cheassolvounreo,ne
scoprounaltro?E
quando
trovero,giustiNumi,
unanimafedel?
Congiurangliastri
credio,perobbligarmia
miodispette
adiventarcrudel.No:
nonavranno
questotrionfo.Asostener
lagara,
giamimpegnolamia
virtu.Vediamo,
sepiucostantesia
laltruiperfidia,ola
clemenzamia;
Ola:Sestosisciolga:

abbiandinuovo
Lentulo,esuiseguaci
evita,eliberta:sianotoa
Roma,
chiosonlostesso,echio
tuttoso,tuttiassolvo,e
tuttooblio.

(SestettoconCoro)
SESTO
25.Tu,ever,massolvi,
Augusto;
Manonmassolveilcore,
Chepiangeralerrore,
Finchememoriaavra.
TITO
Ilveropentimento,
Dicuituseicapace,
Valpiudunaverace
Costantefedelta.
VITELLIA,SERVILIA,ANNIO
Ohgeneroso!ohgrande!
Achimaigiunseatanto?

95010MozartCompleteEdition
238

Mitraedagliacchiil
pianto
Leccelsasuabonta.
TUTTI
(senzaTito)
EterniDei,vegliate
Suisacrigiornisuoi,
ARomainluiserbate
Lasuafelicita.
TITO
Troncate,eterniDei,
Troncateigiornimiei,
Queldicheilbendi
Roma
Miacuranonsara.
TUTTIeCORO
(senzaTito)
EterniDei,vegliate
Suisacrigiornisuoi,
ARomainluiserbate
Lasuafelicita.
FINE

FullTracklist

95010
MozartCompleteEdition
CD1
SYMPHONYNO.1INEFLATK16
1I.Moltoallegro
2II.Andante
3III.Presto

SYMPHONYNO.4INDK19
4I.Allegro
5II.Andante
6III.Presto

SYMPHONYINFK19A
7I.Allegroassai
8II.Andante
9III.Presto

SYMPHONYNO.5INBFLATK22
10I.Allegro
11II.Andante
12III.Moltoallegro

SYMPHONYNO.6INFK43
13I.Allegro
14II.Andante
15III.Menuetto&Trio
16IV.Moltoallegro

SYMPHONYNO.45INDK45
17I.Moltoallegro
18II.Andante
19III.Menuetto&Trio
20IV.Moltoallegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime

558
503
134

223
346
303

503
442
125

244
206
121

531
513
157
344

238
158
343
244

6720

95010MozartCompleteEdition
239


CD2
SYMPHONYNO.8INDK48
1I.Allegro
2II.Andante
3III.Menuetto&Trio
4IV.Moltoallegro

SYMPHONYNO.9INCK73
5I.Allegro
6II.Andante
7III.Menuetto&Trio
8IV.Moltoallegro

SYMPHONYNO.10INGK74
9I.AllegroAndante
10II.Allegro

SYMPHONYNO.12INGK110
11I.Allegro
12II.Andante
13III.Menuetto&Trio
14IV.Allegro

SYMPHONYNO.13INFK112
15I.Allegro
16II.Andante
17III.Menuetto&Trio
18IV.Moltoallegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime

CD3
SYMPHONYNO.14INAK114
1I.Allegromoderato
2II.Andante
3III.Menuetto&Trio
4IV.Moltoallegro

SYMPHONYNO.15INGK124
5I.Allegro
6II.Andante
7III.Menuetto&Trio
8IV.Presto

SYMPHONYNO.16INCK128
9I.Allegromaestoso
10II.Andantegrazioso
11III.Allegro

SYMPHONYNO.17INGK129
12I.Allegro
13II.Andante
14III.Allegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime

429
337
352
323

310
342
303
209

524
213

620
402
401
151

516
309
212
222

6445

747
423
332
442

525
435
213
203

438
525
357

618
529
253

6344

95010MozartCompleteEdition
240


CD4
SYMPHONYNO.20INDK133
1I.Allegro
2II.Andante
3III.Menuetto&Trio
4IV.Allegro

SYMPHONYNO.21INAK134
5I.Allegro
6II.Andante
7III.Menuetto&Trio
8IV.Allegro

SYMPHONYNO.22INCK162
9I.Allegroassai
10II.Andantinograzioso
11III.Prestoassai

SYMPHONYNO.23INDK181
12I.Allegrospiritoso
13II.Andantinograzioso
14III.Prestoassai

MozartAkademieAmsterdam
JaapterLinden

Totaltime

CD5
SYMPHONYNO.27INGK199
1I.Allegro
2II.Andantinograzioso
3III.Presto

SYMPHONYNO.28INCK200
4I.Allegrospiritoso
5II.Andante
6III.Menuetto&Trio
7IV.Presto

SYMPHONYNO.30INDK202
8I.Moltoallegro
9II.Andantinoconmoto
10III.Menuetto&Trio
11IV.Presto

MozartAkademieAmsterdam
JaapterLinden

Totaltime

716
549
404
542

710
514
316
500

334
256
147

520
158
211

6142

638
450
608

718
744
418
524

558
511
416
454

6254

95010MozartCompleteEdition
241


CD6
SYMPHONYINDK111A
1I.Allegroassai
2II.Andantegrazioso
3III.Presto

SYMPHONYNO.18INFK130
4I.Allegro
5II.Andantinograzioso
6III.Menuetto
7IV.Moltoallegro

SYMPHONYNO.19INEFLATK132
8I.Allegro
9II.Andante
10III.Menuetto
11IV.Allegro

SYMPHONYNO.25INGMINORK183
12I.Allegroconbrio
13II.Andante
14III.Menuetto
15IV.Allegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime

CD7
SYMPHONYNO.24INBFLATK182
1I.Allegrospiritoso
2II.Andantinograzioso
3III.Allegro

SYMPHONYNO.26INEFLATK184
4I.Moltopresto
5II.Andante
6III.Allegro

SYMPHONYINDK196
7I.Allegromolto
8II.Andantinograzioso
9III.Allegro

SYMPHONYNO.29INAK201
10I.Allegromoderato
11II.Andante
12III.Menuetto
13IV.Allegroconspirito

SYMPHONYNO.32INGK318
14I.Allegrospiritoso
15II.Andante
16III.Primotempo

MozartAkademieAmsterdam
JaapterLinden

Totaltime

330
118
118

736
653
227
734

415
652
405
359

1103
608
322
718

7805

416
240
304

317
306
230

237
241
233

1017
1019
309
714

310
241
200

6612

95010MozartCompleteEdition
242


CD8
SYMPHONYNO.33INBFLATK319
1I.Allegroassai
2II.Andantemoderato
3III.Menuetto
4IV.Allegroassai

SYMPHONYNO.34INCK338
5I.Allegrovivace
6IIAndantedimoltopitostoallegretto
7III.Allegrovivace

SYMPHONYNO.35INDK385HAFFNER
8I.Allegroconspirito
9II.Andante
10III.Menuetto.Presto

MozartAkademieAmsterdam
JaapterLinden

Totaltime

CD9
SYMPHONYNO.31INDK297PARIS
1I.Allegroassai
2II.Andante
3III.Allegro

SYMPHONYNO.36INCK425LINZ
4I.AdagioAllegroconspirito
5II.Andante923
6III.Menuetto310
7IV.Presto749

SYMPHONYNO.40INGMINORK550(Firstversionwithoutclarinets)
8I.Moltoallegro
9II.Andante
10III.Menuetto
11IV.Allegroassai

MozartAkademieAmsterdam
JaapterLinden

Totaltime

CD10
SYMPHONYNO.38INDK504PRAGUE
1I.AdagioAllegro
2II.Andante
3III.Presto

SYMPHONYNO.39INEFLATK543
4I.AdagioAllegro
5II.Andanteconmoto
6III.Menuetto
7IV.Allegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime

95010MozartCompleteEdition
243

721
437
239
920

732
648
558

610
555
720

6359

830
541
403

1041

731
1001
344
650

7743

1347
1136
801

1116
801
354
828

6513


CD11
SYMPHONYNO.40INGMINORK550(Secondversionwithclarinets)
1I.Moltoallegro
728
2II.Andante
953
3III.Menuetto
349
4IV.Allegroassai
654

SYMPHONYNO.41INCK551JUPITER
5I.Allegrovivace
1142
6II.Andantecantabile
1014
7III.Menuetto
424
902
8IV.Moltoallegro

MozartAkademieAmsterdam
JaapterLinden

Totaltime
6341

CD12
CONCERTOSFORHARPSICHORD,2VIOLINS&BASSOCONTINUOK107NOS.13AfterJohannChristianBachOp.5Nos.24
CONCERTONO.1IND
1I.Allegro
524
2II.Andante
402
351
3III.Tempodimenuetto(CadenzasbyW.A.Mozart)

CONCERTONO.2ING
4I.Allegro
418
5II.Temacon4variazioni.Allegretto(CadenzasbyPieterJanBelder)
522

CONCERTONO.3INEFLAT
6I.Allegro
535
7II.Allegretto(CadenzasbyPieterJanBelder)
256

JOHANNCHRISTIANBACH
SONATESPOURLECLAVECINOUPIANOFORTEOP.5NOS.24
SONATANO.2IND
8I.Allegrodimolto
434
9II.Andantedimolto
316
10III.Minuetto
343

SONATANO.3inG
11I.Allegro
510
12II.Allegretto
520

SONATANO.4INE
13I.Allegro
453
321
14II.Rondeau:Allegretto

PieterJanBelderharpsichord
MusicaAmphion:
RmyBaudet,MartenBoekenbaroqueviolinMargaretUrquhartdoublebass

Totaltime
6221

95010MozartCompleteEdition
244


CD13
PIANOCONCERTONO.24INCMINORK491
1I.Allegro
2II.Larghetto
3III.Allegretto

PIANOCONCERTONO.3INDK40
4I.Allegromaestoso
5II.Andante
6III.Presto

PIANOCONCERTONO.13INCK415
7I.Allegro
8II.Andante
9III.Allegro

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

CD14
PIANOCONCERTONO.15INBFLATK450
1I.Allegro
2II.Adagio
3III.Allegroassai

PIANOCONCERTONO.11INFK413
4I.Allegro
5II.Larghetto
6III.Tempodimenuetto

PIANOCONCERTONO.23INAK488
7I.Allegro
8II.Andante
9III.Allegro

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

1332
738
833

501
440
345

1030
752
750

6927

1104
519
752

912
736
522

1047
613
758

7130

95010MozartCompleteEdition
245


CD15
PIANOCONCERTONO.21INCK467ELVIRAMADIGAN
1I.Allegro
2II.Andante
3III.Allegrovivaceassai

PIANOCONCERTONO.1INFK37
4I.Allegro
5II.Andante
6III.Allegro

PIANOCONCERTONO.25INCK503
7I.Allegromaestoso
8II.Andante
9III.Allegretto

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

CD16
PIANOCONCERTONO.9INEFLATK271JEUNEHOMME
1I.Allegro
2II.Andantino
3III.Rondeau:Presto

PIANOCONCERTONO.2INBFLATK39
4I.Allegrospiritoso
5II.Andantestaccato
6III.Moltoallegro

PIANOCONCERTONO.12INAK414
7I.Allegro
8II.Andante
9III.Rondeau:Allegretto

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

95010MozartCompleteEdition
246

1433
648
726

517
530
451

1717
720
958

7929

1013
1010
1025

523
348
346

947
721
548

6655


CD17
PIANOCONCERTONO.17INGK453
1I.Allegro
2II.Andante
3III.AllegrettoPresto

PIANOCONCERTONO.5INDK175
4I.Allegro
5II.Andantemaunpocoadagio
6III.Allegro

PIANOCONCERTONO.6INBFLATK238
7I.Allegroaperto
8II.Andanteunpocoadagio
9III.Rondeau:Allegro

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

CD18
PIANOCONCERTONO.16INDK451
1I.Allegroassai
2II.Andante
3III.Rondo:Allegrodimolto

PIANOCONCERTONO.8INCK246
4I.Allegroaperto
5II.Andante
6III.Tempodimenuetto

PIANOCONCERTONO.19INFK459
7I.Allegro
8II.Allegretto
9III.Allegroassai

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

CD19
PIANOCONCERTONO.20INDMINORK466
1I.Allegro
2II.Romanze
3III.Allegroassai

PIANOCONCERTONO.22INEFLATK482
4I.Allegro
5II.Andante
6III.Allegro

DerekHanpiano
PhilharmoniaOrchestra
PaulFreeman

Totaltime

1225
950
809

812
724
515

722
532
726

7153

1054
547
714

727
711
711

1143
721
747

7255

1354
824
750

1400
852
1216

6522

95010MozartCompleteEdition
247


CD20
PIANOCONCERTONO.18INBFLATK456
1I.Allegrovivace
2II.Andanteunpocosostenuto
3III.Allegrovivace

PIANOCONCERTONO.26INDK537CORONATION
4I.Allegro
5II.Larghetto
6III.Allegretto

DerekHanpiano
PhilharmoniaOrchestra/PaulFreeman

Totaltime

CD21
PIANOCONCERTONO.14INEFLATK449
1I.Allegrovivace
2II.Andantino
3III.Allegromanontroppo

PIANOCONCERTONO.4INGK41
4I.Allegro
5II.Andante
6III.Moltoallegro

PIANOCONCERTONO.27INBFLATK595
7I.Allegro
8II.Larghetto
9III.Rondo:Allegro

DerekHanpiano
PhilharmoniaOrchestra/PaulFreeman

Totaltime

CD22
CONCERTOFOR2PIANOS&ORCHESTRAINEFLATK365
1I.Allegro
2II.Andante
3III.Rondo:Allegro

CONCERTOFOR3PIANOS&ORCHESTRAINFK242
4I.Allegro
5II.Adagio
6III.Rondo:Tempodiminuetto

ZoltnKocsis,DezsRanki,AndrsSchiff(K242)pianos
HungarianStateOrchestra/JnosFerencsik

7Rondoforpiano&orchestrainDK382
8Rondoforpiano&orchestrainAK386

AnneroseSchmidtpiano
DresdnerPhilharmonie/KurtMasur

Totaltime

95010MozartCompleteEdition
248

1236
936
808

1429
607
1054

6152

852
621
617

504
350
349

1411
653
919

6442

943
811
648

747
845
536

839
754

6346


CD23
CLARINETCONCERTOINAK622
1I.Allegro
2II.Adagio
3III.Rondo:Allegro

OskarMichallikclarinet
StaatskapelleDresden
SiegfriedKurz

Totaltime

CONCERTOFORFLUTE&HARPINCK299
4I.Allegro
5II.Andantino
6III.Rondeau:Allegro

MarcGrauwelsfluteGiselleHerbertharp
LesViolonsduRoy
BernardLabadie

Totaltime

CD24
FLUTECONCERTONO.1INGK313
1I.Allegromaestoso
2II.Adagionontroppo
3III.Rondo:Tempodimenuetto

FLUTECONCERTONO.2INDK314
4I.Allegroaperto
5II.Andantemanontroppo
6III.Allegro
7Andanteforflute&orchestrainCK315

JohannesWalterflute
StaatskapelleDresden
HerbertBlomstedt

Totaltime

1303
720
955

5740

934
810
933

5740

853
856
741

814
703
522
626

5253

95010MozartCompleteEdition
249


CD25
OBOECONCERTOINCK314(K285D)
1I.Allegroaperto
2II.Andantenontroppo
3III.Rondo:Allegretto

KurtManhoboe

BASSOONCONCERTOINBFLATK191
4I.Allegro
5II.Andantemaadagio
6III.Rondo:Tempodimenuetto

GunterKlierbassoon

SINFONIACONCERTANTEINEFLATK297B
7I.Allegro
8II.Adagio
9III.Andantinoconvariazioni

AlfredTolkdorfoboe,KarlSchtteclarinet,GnterSchaffrathhorn,HeinzWapplerbassoon

StaatskapelleDresden
HerbertBlomstedt(K314)SiegfriedKurz(K191)OtmarSuitner(K297b)

Totaltime

CD26
HORNCONCERTONO.2INEFLATK417
1I.Allegro
2II.Andante
3III.Rondo:Allegro

HORNCONCERTONO.3INEFLATK447
4I.Allegro
5II.Romance:Larghetto
6III.Allegro

7CONCERTOMOVEMENTINEK494A:Allegro(CompletedbyHermanJeurissen)

HORNCONCERTONO.1INDK412
8I.Allegro
9II.Rondo:Allegro(Instrumention:HermanJeurissen)

HORNCONCERTOINEFLATK370B/371
10I.Allegro(Reconstruction:HermanJeurissen)
11II.Rondeau:Allegro(Instrumentation:HermanJeurissen)

HORNCONCERTONO.4INEFLATK495
12I.Allegro
13II.Andante
14III.Allegro

15RONDOFROMHORNCONCERTONO.1INDK412
Allegro(withMozartsoriginaltext,voiceofMozart:GiorgioMereu)

HermanJeurissenhorn
NetherlandsChamberOrchestra
RoyGoodman

Totaltime

95010MozartCompleteEdition
250

807
716
600

755
726
427

1348
741
945

7229

625
316
325

635
353
340
853

444
355

717
550

737
422
353

402

7922


CD27
VIOLINCONCERTONO.1INBFLATK207
1I.Allegromoderato
2II.Adagio
3III.Presto

VIOLINCONCERTONO.2INDK211
4I.Allegromoderato
5II.Andante
6III.Rondeau:Allegro

VIOLINCONCERTONO.3INGK216
7I.Allegro
8II.Adagio
9III.Rondeau

EmmyVerheyviolin
ConcertgebouwChamberOrchestra/EduardoMarturet

Totaltime

CD28
VIOLINCONCERTONO.4INDK218
1I.Allegromoderato
2II.Andantecantabile
3III.Rondeau:AndantegraziosoRAllegromanontroppo

VIOLINCONCERTONO.5INAK219
4I.Allegroaperto
5II.Adagio
6III.Rondeau:Tempodiminuetto

7AdagioinEK261
8RondoinBflatK269:Allegro
9RondoinCK373

EmmyVerheyviolin
ConcertgebouwChamberOrchestra/EduardoMarturet

Totaltime

CD29
SINFONIACONCERTANTEINEFLATK364
1I.Allegromaestoso
2II.Andante
3III.Presto

GilSharonviolin&director
YuriGandelsmanviola
AmatiChamberOrchestra

CONCERTONEFOR2VIOLINSINCK190
4I.Allegrospiritoso
5II.Andantinograzioso
6III.Tempodimenuetto

ThorstenRosenbusch,ChristianTromplerviolin
KlausGerbethoboeKarlHeinzSchrtercelloChristineSchornsheimharpsichord
KammerorchesterCarlPhilippEmanuelBach/HartmutHaenchen

Totaltime

95010MozartCompleteEdition
251

801
859
539

808
727
425

944
741
621

6630

846
710
659

935
1006
839
824
634
549

7206

1244
958
611

830
1015
841

5628


CD30
DIVERTIMENTOINDK136
1I.Allegro
2II.Andante
3III.Presto

DIVERTIMENTOINBFLATK137
4I.Andante
5II.Allegrodimolto
6III.Allegroassai

DIVERTIMENTOINFK138
7I.Allegro
8II.Andante
9III.Presto

DIVERTIMENTOINDK334
10I.Allegro
11II.Andante
12III.Menuetto
13IV.Adagio
14V.Menuetto
15VI.Rondo:Allegro

KurpflzischesKammerorchesterMannheim(OlgaNodelviolin)
FlorianHeyerick

Totaltime

CD31
NOTTURNOINDK286forfourorchestras
1I.Andante
2II.Allegrettograzioso
3III.Menuetto

EINMUSIKALISCHERSPAINFK522DORFMUSIKANTENSSEXTETT
4I.Allegro
5II.Menuetto
6III.Adagiocantabile
7IV.Presto

SERENADEINGK525EINEKLEINENACHTMUSIK
8I.Allegro
9II.Romance:Andante
10III.Menuetto
11IV.Rondo:Allegro

KurpflzischesKammerorchesterMannheim
FlorianHeyerick

Totaltime

95010MozartCompleteEdition
252

534
507
340

336
313
249

326
459
155

638
811
321
438
639
557

7005

518
220
508

346
501
606
356

516
436
141
356

4719


CD32
CASSATIONINGK63(FINALMUSIK)
1I.Marche
2II.Allegro
3III.Andante
4IV.Menuett
5V.Adagio
6VI.Menuett
7VII.Finale:Allegroassai

CASSATIONINBFLATK99
8I.Marcia
9II.Allegromoderato
10III.Andante
11IV.Menuett
12V.Andante
13VI.Menuett
14VII.Allegro

KurpflzischesKammerorchesterMannheim
FlorianHeyerick

DIVERTIMENTOINDK251
15I.Moltoallegro
16II.Menuetto
17III.Andantino
18IV.Menuetto.Temaconvariazioni
19V.Rondeau:Allegroassai
20VI.Marciaallafrancese

NeuesBachischesCollegiumMusicum
BurkhardGlaetzner

Totaltime

CD33
DIVERTIMENTOINDK205
1I.Largo
2II.Menuetto
3III.Menuetto
4IV.Adagio
5V.Finale:Presto

DIVERTIMENTOINEFLATK113
6I.Allegro
7II.Andante
8III.Menuetto
9IV.Allegro

DIVERTIMENTOINDK131
10I.Allegro
11II.Adagio
12III.Menuetto
13IV.Allegretto
14V.Menuetto
15VI.Adagio
16VII.Allegroassai

KurpflzischesKammerorchesterMannheim
JirMalt

Totaltime

259
325
333
302
509
251
148

237
313
321
206
218
156
551

615
347
304
419
532
158

6915

448
240
239
343
328

413
346
152
326

515
446
529
253
357
102
519

5922

95010MozartCompleteEdition
253


CD34
SERENADEINDK100
1I.Allegro
2II.Andante
3III.Menuetto
4IV.Allegro
5V.Menuetto
6VI.Andante
7VII.Menuetto
8VIII.Allegro

SERENADEINDK204
9I.Allegroassai
10II.Andantemoderato
11III.Allegro
12IV.MenuettoTrio
13V.Andante
14VI.MenuettoTrio
15VII.AndantinograziosoAllegro

KurpflzischesKammerorchesterMannheim(OlgaNodelviolin)
JirMalt

Totaltime

CD35
DIVERTIMENTOINFK247LODRONNIGHTMUSICNO.1
1I.Allegro
2II.Andantegrazioso
3III.Menuetto
4IV.Adagio
5V.Menuetto
6VI.AndanteAllegroassai

DIVERTIMENTOINBFLATK287LODRONNIGHTMUSICNO.2
7I.Allegro
8II.AndantegraziosovonVariazioni
9III.Menuetto
10IV.Adagio
11V.Menuetto
12VI.AndanteRAllegromolto

CamerataSalzburg
SndorVgh

Totaltime

95010MozartCompleteEdition
254

412
436
236
301
222
256
204
234

421
600
535
259
323
334
442

5505

813
337
408
626
314
605

900
818
330
811
345
735

7214


CD36
SERENATANOTTURNAINDK239
1I.Marcia:Maestoso
2II.Menuetto
3III.Rondo:Allegro

AmatiChamberOrchestra
GilSharon

SERENADEINDK320POSTHORN
4I.AdagiomaestosoAllegroconspirito
5II.Menuetto:AllegrettoTrio
6III.Concertante:Andantegrazioso
7IV.Rondeau:Allegromanontroppo
8V.Andantino
9VI.MenuettoTriosNos.1&2
10VII.Finale:Presto

ChristophBrandtLindenbaumposthorn
CappellaColoniensis/JoshuaRifkin

GALLIMATHIASMUSICUMK32
11No.1:Moltoallegro
12No.2:Andante
13No.4:Allegrofinale
14No.5:Pastorella
15No.6:AllegroNo.7:Allegretto
16No.8:Allegro
17No.9:Moltoadagio
18No.10:Allegro
19No.11:LargoNo.12:Moltoallegro
20No.13:AndanteNo.14:Allegro
21No.15:Menuett
22No.16:AdagioNo.17:Presto
23No.18Fuga

FranzLisztChamberOrchestra
JnosRolla

Totaltime

CD37
SERENADEINDK250HAFFNER
1I.AllegromaestosoRAllegromolto
2II.Andante
3III.Menuetto
4IV.Rondo:Allegro
5V.Menuetto:Galanta
6VI.Andante
7VII.Menuetto
8VIII.AdagioAllegroassai

AmatiChamberOrchestra
GilSharonviolin&concertmaster

Totaltime

415
359
428

753
424
725
551
1032
504
404

025
132
035
116
222
037
031
049
110
219
053
152
320

7553

735
957
412
816
637
847
541
627

5802

95010MozartCompleteEdition
255


CD38
SERENADEINDK185
1I.Allegroassai
2II.Andante
3III.Allegro
4IV.Menuetto
5V.Andantegrazioso
6VI.Menuetto
7VII.AdagioAllegroassai

FranzLisztChamberOrchestra
JnosRolla

SERENADEINDK203
8I.AndantemaestosoAllegroassai
9II.Andante
10III.Menuetto
11IV.Allegro
12V.Menuetto
13VI.Andante
14VII.Menuetto
15VIII.Prestissimo

AmatiChamberOrchestra
GilSharon

Totaltime

CD39
1MarchinDK62
2MarchinDK189(167b)
3MarchinCK214
4MarchinDK215(213b)
5MarchinDK237(189c)
6MarchinFK248
7MarchinDK249
8MarchinDK335No.1
9MarchinDK335No.2
10MarchinCK408No.1(383e)
11MarchinDK408No.2(385a)
12MarchinCK408No.3(383f)
13MarchinDK445T320cU
14MenuetK409
15Adagio&FugueK546
16MarchinDK290

CapellaIstropolitana
NicolMatt

Totaltime

719
720
321
322
628
540
650

435
455
243
429
313
439
410
342

7259

357
407
329
306
355
411
311
354
347
446
336
401
230
552
628
431

6639

95010MozartCompleteEdition
256


CD40
DIVERTIMENTIK439B(KANHANG229)NOS.13
DIVERTIMENTONO.1
1I.Allergo
2II.Menuetto
3III.Adagio
4IV.Menuetto
5V.Rondo

DIVERTIMENTONO.2
6I.Allegro
7II.Menuetto
8III.Larghetto
9IV.Menuetto
10V.Rondo

DIVERTIMENTONO.3
11I.Allegro
12II.Menuetto
13III.Adagio
14IV.Menuetto
15V.Rondo

CD41
DIVERTIMENTIK439B(KANHANG229)NOS.46
DIVERTIMENTONO.4
1I.Allegro
2II.Larghetto
3III.Menuetto
4IV.Adagio
5V.Allegretto

DIVERTIMENTONO.5
6I.Adagio
7II.Menuetto
8III.Adagio
9IV.Romance
10V.Polonaise

DIVERTIMENTONO.6
11I.Rondo:Larghetto
12II.Voichesapete(LenozzediFigaro)
13III.Nonpiandrai(LenozzediFigaro)
14IV.Lcidaremlamano(DonGiovanni)
15V.Vedrai,carino(DonGiovanni)

HenkdeGraaf,JanJansenclarinet
JohanSteinmannbassoon

Totaltime

415
304
240
235
232

220
351
259
358
350

430
449
357
529
422

354
321
300
210
223

255
245
211
235
108

320
222
325
237
312

4130

95010MozartCompleteEdition
257


CD42
SERENADEINEFLATK375
1I.Allegromaestoso
2II.Menuetto
3III.Adagio
4IV.MenuettoTrio
5V.Allegro

SERENADEINCMINORK388
6I.Allegro
7II.Andante
8III.MenuettoTrio
9IV.Allegro

HenkdeGraaf,JanJansenclarinetRemcodeVries,KattyHalvarsonoboe
JohanSteinmann,HansWissebassoonMartinvandeMerwe,JosBuurmanhorn

Totaltime

CD43
DIVERTIMENTOINEFLATK166
1I.Allegro
2II.Menuetto
3III.Andantegrazioso
4IV.Adagio
5V.Allegro

DIVERTIMENTOINBFLATK186
6I.Allegroassai
7II.Menuetto
8III.Andante
9IV.Adagio
10V.Allegro

DIVERTIMENTOINEFLATKANH.226
11I.Allegromoderato
12II.Menuetto
13III.Romance
14IV.Menuetto
15V.Rondo

DIVERTIMENTOINBFLATKANH.227
16I.Allegro
17II.Menuetto
18III.Adagio
19IV.Menuetto
20V.Finale

HenkdeGraaf,JanJansenclarinetRemcodeVries,SandraZoeoboe
RonTyhuis,IrmaKortcoranglaisJohanSteinmann,DymphnavanDooremaalbassoon
MartinvandeMerwe,JosBuurmanhorn

Totaltime

95010MozartCompleteEdition
258

745
409
551
247
346

842
344
349
620

4700

312
254
239
117
200

140
204
238
251
211

324
520
340
302
445

257
237
304
241
308

5804


CD44
DIVERTIMENTOINFK213
1I.Allegrospiritoso
2II.Andante
3III.Menuetto
4IV.Contredanseenrondeau

DIVERTIMENTOINBFLATK240
5I.Allegro
6II.Andantegrazioso
7III.Menuetto
8IV.Allegro

DIVERTIMENTOINEFLATK252
9I.Andante
10II.Menuetto
11III.Polonaise
12IV.Prestoassai

DIVERTIMENTOINFK253
13I.Temaconvariazioni:Andante
14II.Menuetto
15III.Allegroassai

DIVERTIMENTOINBFLATK270
16I.Allegromolto
17II.Andantino
18III.Menuetto
19IV.Presto

RemcodeVries,IrmaKortoboe
JohanSteinmann,HansWissebassoon
MartinvandeMerwe,JosBuurmanhorn

Totaltime

416
226
245
117

423
308
217
359

427
231
211
125

920
244
150

535
212
244
145

6134

95010MozartCompleteEdition
259


CD45
1AdagioinBflatK411
2AdagioinFK580a

HenkdeGraaf,LauraRijsewijkclarinet,JanJansen,DiedeBrantjes,RomkeJanWijmengabassethorn

NOTTURNI
3NotturnoinFK346Lucicare,lucibelle
4NotturnoinEflatK438Selontanbenmiotusei
5NotturnoinFK439Duepupilleamabili
6NotturnoinBflat549Pinonsitrovano
7NotturnoinFK436Eccoquelfieroistante
8NotturnoinGK437Milagnerotacendo

ClaradeVriessopranoJosScholtealto,BasRamselaarbass
HenkdeGraaf,LauraRijsewijkclarinet,JanJansenbassethorn

12DUOSK487fortwohorns
9No.1:Allegro
10No.2:Menuetto
11No.3:Andante
12No.4:Polonaise
13No.5:Larghetto
14No.6:Menuetto
15No.7:Adagio
16No.8:Allegro
17No.9:Menuetto
18No.10:Andante
19No.11:Menuetto
20No.12:Allegro

MartinvandeMerwe,JosBuurmanhorn

DIVERTIMENTOINCK188
21I.Andante
22II.Allegro
23III.Menuetto
24IV.Andante
25V.Menuetto
26VI.Gavotte

AdvanZon,SimonWieringa,FrankSteeghstrumpetinC,AndreHeuvelmanpiccolotrumpet
ArtoHoornweg,JaccoGroenendijktrumpetinD,RandyMaxtimpani

Totaltime

CD46
SERENADEINBFLATK361GRANPARTITAfor13windinstruments
1I.LargoAllegromolto
2II.Menuetto
3III.Adagio
4IV.Menuetto:Allegretto
5V.Romanze:AdagioAllegretto
6VI.Temaconvariazioni
7VII.Finale:Moltoallegro

LinosEnsemble

Totaltime

95010MozartCompleteEdition
260

607
459

139
140
102
258
200
342

054
240
217
106
111
328
151
124
221
114
217
127

145
105
058
128
035
040

5316

854
857
456
517
624
1024
323

4815


CD47
7MENUETSK65A
1No.1inG
2No.2inD
3No.3inA
4No.4inF
5No.5inC
6No.6inG
7No.7inD

8KontretanzinBflatK123(73g)
9MenuetinEflatK122(73t)

20MENUETSK103
10No.1
11No.2
12No.3
13No.4
14No.5
15No.6
16No.7
17No.8
18No.9
19No.10
20No.11
21No.12
22No.13
23No.14
24No.15
25No.16
26No.17
27No.18
28No.19
29No.20

SlovakSinfonietta
TarasKrysa

Totaltime

223
228
235
324
210
247
209
118
113

313
214
304
219
217
235
257
231
310
227
251
209
223
239
207
043
044
054
045
242

6531

95010MozartCompleteEdition
261


CD48
6MENUETSK104(61E)
1No.1inC
2No.2inF
3No.3inC
4No.4inA
5No.5inG
6No.6inG

6MENUETSK105(61F)
7No.1inD
8No.2inD
9No.3inD
10No.4inG
11No.5inG
12No.6inG

6MENUETSK61H
13No.1inC
14No.2inA
15No.3inD
16No.4inBflat
17No.5inG
18No.6inC

16MENUETSK176
19No.1inC
20No.2inG
21No.3inEflat
22No.4inBflat
23No.5inF
24No.6inD
25No.7inA
26No.8inC
27No.9inG
28No.10inBflat
29No.11inF
30No.12inD
31No.13inG
32No.14inC
33No.15inF
34No.16inD

SlovakSinfonietta
TarasKrysa

Totaltime

228
224
212
056
232
232

223
215
228
204
218
210

239
105
221
055
254
244

220
258
045
058
226
217
052
221
225
054
212
220
228
214
259
213

7233

95010MozartCompleteEdition
262


CD49
6MENUETSK164(130A)
1No.1inD
2No.2inD
3No.3inD
4No.4inG
5No.5inG
6No.6inG

4KONTRETNZE/SERENADEK101(250A)
7No.1inF:Gavotte
8No.2inG:Andantino
9No.3inD:Presto
10No.4inF:Gavotte

4KONTRETNZEK267(271C)
11No.1inG
12No.2inEflat
13No.3inA
14No.4inD

3MENUETSK363
15No.1inD
16No.2inBflat
17No.3inD

5MENUETSK461(448A)
18No.1inC
19No.2inEflat
20No.3inG
21No.4inBflat
22No.5inF

6KONTRETNZEK462(448B)
23No.1inC
24No.2inEflat
25No.3inBflat
26No.4inD
27No.5inBflat
28No.6inF

2QUADRILLENK463(448C)
29No.1inF
30No.2inBflat
316GermanDancesK509

SlovakSinfonietta
TarasKrysa

Totaltime

231
237
218
236
220
216

135
142
101
157

129
134
116
142

103
110
059

248
240
244
230
238

152
141
102
134
103
133

233
227
1348

7141

95010MozartCompleteEdition
263


CD50
1KontretanzinDK534DasDonnerwetter
2KontretanzinCK535Labataille

12GERMANDANCESK536&K567
3No.1inCK536
4No.2inGK536
5No.3inBflatK536
6No.4inDK536
7No.5inFK536
8No.6inBflatK567
9No.7inEflatK567
10No.8inGK567
11No.9inDK567
12No.10inAK567
13No.11inFK536
14No.12inCK567

12MENUETSK568
15No.1inC
16No.2inF
17No.3inBflat
18No.4inEflat
19No.5inG
20No.6inD
21No.7inA
22No.8inF
23No.9inBflat
24No.10inD
25No.11inG
26No.12inC

6GERMANDANCESK571
27No.1inD
28No.2inA
29No.3inC
30No.4inG
31No.5inBflat
32No.6inD

SlovakSinfonietta
TarasKrysa

Totaltime

107
120

235
224
239
211
207
134
156
126
131
152
219
215

220
228
222
223
221
216
228
221
231
224
229
226

146
135
153
140
132
246

6748

95010MozartCompleteEdition
264


CD51
12MENUETSK585
1No.1inD
2No.2inF
3No.3inBflat
4No.4inEflat
5No.5inG
6No.6inC
7No.7inA
8No.8inF
9No.9inBflat
10No.10inEflat
11No.11inG
12No.12inD

2KONTRETNZEK603
13No.1inD
14No.2inBflat

12GERMANDANCESK586
15No.1inC
16No.2inG
17No.3inBflat
18No.4inF
19No.5inA
20No.6inD
21No.7inG
22No.8inEflat
23No.9inBflat
24No.10inF
25No.11inA
26No.12inC

6GERMANDANCESINBFLATK606
27No.1
28No.2
29No.3
30No.4
31No.5
32No.6
5KONTRETNZEK609
33No.1inC
34No.2inEflat
35No.3inD
36No.4inC
37No.5inG

SlovakSinfonietta
TarasKrysa

Totaltime

218
225
214
224
225
228
223
215
228
229
232
226

141
200

148
146
201
229
149
145
150
154
140
149
157
202

052
042
101
044
046
114
055
046
108
251
119

6810

95010MozartCompleteEdition
265


CD52
12MENUETSK599,601&604
1K599No.1inC
2K599No.2inG
3K599No.3inEflat
4K599No.4inBflat
5K599No.5inF
6K599No.6inD
7K601No.1inA
8K601No.2inC
9K601No.3inG
10K601No.4inD
11K604No.1inBflat
12K604No.2inEflat

13GERMANDANCESK600,602&605
13K600No.1inC
14K600No.2inF
15K600No.3inBflat
16K600No.4inEflat
17K600No.5inG
18K600No.6inD
19K602No.1inBflat
20K602No.2inF
21K602No.3inC
22K602No.4inA
23K605No.1inD
24K605No.2inG
25K605No.3inC

26KontretanzinCK587
27KontretanzinGK610
28GavotteinBflatK300

SlovakSinfonietta
TarasKrysa

Totaltime

250
249
254
302
235
255
225
249
217
226
232
225

213
215
212
159
143
220
152
223
214
151
212
211
321
119
130
156

6621

95010MozartCompleteEdition
266


CD53
HORNQUINTETINEFLATK407
1I.Allegro
2II.Andante
3III.Allegro

GerdSeiferthorn

OBOEQUARTETINFK370
4I.Allegro
5II.Adagio
6III.Rondeau:Allegro

LotharKochoboe

CLARINETQUINTETINAK581
7I.Allegro
8II.Larghetto
9III.Menuetto
10IV.Allegrettoconvariazioni

KarlLeisterclarinet
BrandisQuartet
ThomasBrandisviolinI
PeterBremviolinII
WilfriedStrehleviola
WolfgangBoettchercello

Totaltime

CD54
PIANOQUINTETINEFLATK452
1I.LargoAllegromoderato
2II.Larghetto
3III.Rondo:Allegromoderato

KlraWrtzpiano
HenkdeGraafclarinet
HansMeijeroboe
MartinvandeMerwehorn
PeterGaasterlandbassoon

CLARINETTRIOINEFLATK498KEGELSTATT
4I.Andante
5II.Menuetto
6III.Rondeau:Allegretto

AnthonyPayclarinet
IanBrownpiano
RogerChaseviola

Totaltime:4413

625
625
403

717
459
455

902
641
719
930

6700

925
756
519

621
612
844

95010MozartCompleteEdition
267


CD55
DIVERTIMENTOINBFLATK254
1I.Allegroassai
2II.Adagio
3III.Rondo:Tempodimenuetto

PIANOTRIOINGK496
4I.Allegro
5II.Andante
6III.Allegretto

PIANOTRIOINBFLATK502
7I.Allegro
8II.Larghetto
9III.Allegretto

BartvanOortfortepiano
ElizabethWallfischviolin
JaapterLindencello

Totaltime

CD56
PIANOTRIOINEK542
1I.Allegro
2II.Andantegrazioso
3III.Allegro

PIANOTRIOINCK548
4I.Allegro
5II.Andantecantabile
6III.Allegro

PIANOTRIOINGK564
7I.Allegro
8II.Andanteconvariazioni
9III.Allegretto

WalterOlbertzpiano
KarlSuskeviolin
MatthiasPfaendercello

Totaltime:5145

CD57
PIANOQUARTETINGMINORK478
1I.Allegro
2II.Andante
3III.Rondeau

PIANOQUARTETINEFLATK493
4I.Allegro
5II.Larghetto
6III.Allegretto

BartvanOortfortepiano
TjamkeRoelofsviolin
BernadetteVerhagenviola
JaapterLindencello

Totaltime

559
526
632

835
530
927

814
658
613

6325

727
427
650

709
539
430

458
549
452

1024
723
728

1014
926
829

5357

95010MozartCompleteEdition
268


CD58
FLUTEQUARTETINDK285
1I.Allegro
646
2II.Adagio
226
3III.Rondeau
412

FLUTEQUARTETINGK285A
4I.Andante
622
5II.Tempodimenuetto
322

FLUTEQUARTETINCK285B
6I.Allegro
547
7II.Temaconvariazioni
1024

FLUTEQUARTETINAK298
8I.Temaconvariazioni
554
9II.Menuetto
220
10III.Rondeau:Allegrettograzioso,manontroppoprest,peronontroppoadagio,coscosconmoltogarboed
espressione
251

ADAGIO&RONDOINCK617forglassharmonica,flute,oboe,viola&cello
430
11I.Adagio
12II.Rondo
814

MarcGrauwelsflute,JorisvanderHauweoboe,UlkaGorniakviolin
PaulDeclerckviola,LucDewezcello,DennisJamesglassharmonica

Totaltime
6337

CD59
FLUTESONATAINBFLATK10
1I.Allegro
359
2II.Andante
255
251
3III.MenuettoI&II

FLUTESONATAINGK11
4I.Andante
350
5II.AllegroMenuettoDacapoallegro
545

FLUTESONATAINAK12
6I.Andante
505
7II.Allegro
206

FLUTESONATAINFK13
8I.Allegro
512
9II.Andante
553
210
10III.MenuettoI&II

FLUTESONATAINCK14
11I.Allegro
506
12II.Allegro
254
13III.MenuettoI&IICarillon
230

FLUTESONATAINBFLATK15
14I.Andantemaestoso
720
15II.Allegrograzioso
257

MarcGrauwelsflute,GuyPensonpianoforte/harpsichord,JanSciffercello

Totaltime
6126

95010MozartCompleteEdition
269


CD60
VIOLINSONATAINCK6
1I.Allegro
2II.Andante
3III.MenuetI&II
4IV.Allegromolto

VIOLINSONATAINDK7
5I.Allegromolto
6II.Adagio
7III.MenuetI&II

VIOLINSONATAINBFLATK8
8I.Allegro
9II.Andantegrazioso
10III.MenuetI&II

VIOLINSONATAINGMINORK9
11I.Allegrospiritoso
12II.Andante
13III.MenuetI&II

RmyBaudetbaroqueviolin
PieterJanBelderharpsichord

Totaltime

CD61
VIOLINSONATAINEFLATK26
1I.Allegromolto
2II.Adagiopocoandante
3III.Rondeaux:Allegro

VIOLINSONATAINGK27
4I.Andantepocoadagio
5II.Allegro

VIOLINSONATAINCK28
6I.Allegromaestoso
7II.Allegrograzioso

VIOLINSONATAINDK29
8I.Allegromolto
9II.Menuetto

VIOLINSONATAINFK30
10I.Adagio
11II.Rondeaux:Tempodimenuetto

VIOLINSONATAINBFLATK31
12I.Allegro
13II.Tempodimenuetto:Moderato
14TWELVEVARIATIONSINGK359(374A)onthesongLaBergreClimne
15SIXVARIATIONSINGMINORK360(374B)onthesongHlas,jaiperdumonamant

RmyBaudetbaroqueviolin
PieterJanBelderharpsichord

Totaltime

95010MozartCompleteEdition
270

408
401
232
337

457
634
255

332
324
308

351
554
437

5327

253
308
212

320
337

404
234

319
314

445
229

349
549
1428
921

6945


CD62
VIOLINSONATAINFK376
1I.Allegro
2II.Andante
3III.Rondeau:Allegrettograzioso

VIOLINSONATAINFK377
4I.Allegro
5II.Tema:Andante
6VariationI
7VariationII
8VariationIII
9VariationIV
10VariationV
11VariationVI:Siciliana
12III.Tempodimenuetto

VIOLINSONATAINBFLATK372
13I.Allegro

SONATAMOVEMENTINAK402(fragment)
14I.Andante,maunpocoadagio
15II.Fuga:Allegromoderato

SONATAMOVEMENTINCK404(fragment)
16I.Andante
17II.Allegretto

SalvatoreAccardoviolin,BrunoCaninopiano

Totaltime

CD63
VIOLINSONATAINGK379
1I.AdagioAllegro
2II.Tema:Andantinocantabile
3VariationI
4VariationII
5VariationIII
6VariationIV
7VariationV:Adagio
8Tema:Allegretto

VIOLINSONATAINEFLATK380
9I.Allegro
10II.Andanteconmoto
11III.Rondeau:Allegro

VIOLINSONATAINFK547
12I.Andantinocantabile
13II.Allegro
14III.Tema:Andante
15VariationI
16VariationII
17VariationIII
18VariationIV
19VariationV
20VariationVI

SalvatoreAccardoviolin,BrunoCaninopiano

Totaltime

659
530
602

610
119
106
109
104
101
109
207
504

800

638
353

149
128

6100

1210
105
105
107
105
124
119
234

1003
936
440

622
910
100
055
056
100
057
104
119

6915

95010MozartCompleteEdition
271


CD64
VIOLINSONATAINAK526
1I.Moltoallegro
2II.Andante
3III.Presto

VIOLINSONATAINCK296
4I.Allegrovivace
5II.Andantesostenuto
6III.Rondeau:Allegro

VIOLINSONATAINAK305
7I.Allegrodimolto
8II.Tema:Andantegrazioso
9VariationI
10VariationII
11VariationIII
12VariationIV
13VariationV
14VariationVI:Allegro

SalvatoreAccardoviolin
BrunoCaninopiano

Totaltime

CD65
VIOLINSONATAINEFLATK481
1I.Moltoallegro
2II.Adagio
3III.Tema:Allegretto
4VariationI
5VariationII
6VariationIII
7VariationIV
8VariationV
9VariationVI:Allegro

VIOLINSONATAINCK303
10I.AdagioMoltoallegro
11II.Tempodimenuetto

VIOLINSONATAINGK301
12I.Allegroconspirito
13II.Allegro

SalvatoreAccardoviolin
BrunoCaninopiano

Totaltime

912
1030
651

852
616
423

649
148
136
139
113
157
130
047

6346

735
759
113
108
108
108
111
127
125

544
630

1129
538

5358

95010MozartCompleteEdition
272


CD66
VIOLINSONATAINBFLATK378
1I.Allegromoderato
2II.Andantinosostenutoecantabile
3III.Rondeau:Allegro

VIOLINSONATAINEFLATK302
4I.Allegro
5II.Rondeau:Andantegrazioso

VIOLINSONATAINEMINORK304
6I.Allegro
7II.Tempodimenuetto

VIOLINSONATAINCK403
8I.Allegromoderato
9II.AndanteAllegretto

SalvatoreAccardoviolin,BrunoCaninopiano

Totaltime

CD67
VIOLINSONATAINBFLATK454
1I.LargoAllegro
2II.Andante
3III.Allegretto

VIOLINSONATAINDK306
4I.Allegroconspirito
5II.Andantinocantabile
6III.Allegretto

SalvatoreAccardoviolin,BrunoCaninopiano

Totaltime

CD68
CHURCHSONATAS
1SonatainEflatK67
2SonatainBflatK68
3SonatainDK69
4SonatainDK144
5SonatainFK145
6SonatainBflatK212
7SonatainGK241
8SonatainFK224
9SonatainAK225
10SonatainFK244
11SonatainDK245
12SonatainGK274
13SonatainCK328
14SonatainCK336
15SonatainCK263
16SonatainCK278
17SonatainCK329

BohuslavMatousekviolin
CollegiumJaroslavTuma

Totaltime

1230
616
428

814
638

1014
528

733
320

6508

959
740
657

1024
1117
704

5336

221
343
337
434
252
418
343
614
517
512
455
441
603
426
440
326
404

7452

95010MozartCompleteEdition
273


CD69
STRINGQUINTETINBFLATK174
1I.Allegromoderato
2II.Adagio
3III.Menuettomaallegretto
4IV.Allegro

STRINGQUINTETINBFLATK174(Firstabandonedversion)
5III.Menuetto,maallegrettoTrio
6IV.Allegro

STRINGQUINTETINCMINORK406
7I.Allegro
8II.Andante
9III.MinuettoincanoneTrioalrovescio
10IV.Allegro

TheChilingirianQuartet
LevonChilingirianviolinI
CharlesSewartviolinII
SusieMszrosviola
PhilipDeGrootecello
withYukoInoueviola

Totaltime

CD70
STRINGQUINTETINCK515
1I.Allegro
2II.Andante
3III.Menuetto:Allegretto
4IV.Allegro

STRINGQUINTETINDK593
5I.LarghettoAllegro
6II.Adagio
7III.Menuetto:Allegretto
8IV.Finale:Allegro

OrlandoQuartet
JohnHardingviolinI
HeinzOberdorferviolinII
FerdinandErblichviola
StefanMetzcello
withNobukoImaiviola

Totaltime

95010MozartCompleteEdition
274

852
731
401
550

301
523

855
346
428
625

5909

1400
937
551
727

1221
737
543
831

7117


CD71
STRINGQUINTETINGMINORK516
1I.Allegro
2II.Menuetto:Allegretto
3III.Adagiomanontroppo
4IV.Adagio
5V.Allegro

STRINGQUINTETINEFLATK614
6I.Allegrodimolto
7II.Andante
8III.Menuetto:Allegretto
9IV.Allegro

Totaltime

OrlandoQuartet
JohnHardingviolinI
HeinzOberdorferviolinII
FerdinandErblichviola
StefanMetzcello
withNobukoImaiviola

CD72
STRINGTRIODIVERTIMENTOINEFLATK563
1I.Allegro
2II.Adagio
3III.Menuetto:Allegretto
4IV.Andante
5V.Menuetto:Allegretto
6VI.Allegro

FranoisFernandezviolin
RyoTerakadoviola
RainerZipperlingcello

Totaltime

CD73
DUOINGK423
1I.Allegro
2II.Adagio
3III.Rondeau:Allegro

DUOINBFLATK424
4I.AdagioZAllegro
5II.Andantecantabile
6III.Temaconvariazioni

RmyBaudetviolin
MartenBoekenviola

TRIOINBFLATK266
7AdagioZMenuetto

RmyBaudetviolin
StaasSwierstraviolin
RainerZipperlingcello

Totaltime

1551
539
907
252
812

1124
739
426
544
7102

1158
1327
522
810
524
626

5056

700
344
538

828
314
832

1009

4659

95010MozartCompleteEdition
275


CD74
PRELUDES&FUGUESK404A
1Prelude(original?)&Fugue(J.S.BachBWV853)inDminor
2Prelude(original?)&Fugue(J.S.BachBWV883)inGminor
3Prelude(original?)&Fugue(J.S.BachBWV882)inF
4Prelude(J.S.BachBWV527/ii_&Fugue(J.S.BachBWV10808)inF
5Prelude&FugueinEflat(J.S.BachBWV526II&III)
6Prelude(original?)&Fugue(WilhelmFriedemannBach)inFminor

RmyBaudetviolin
StaasSwierstraviola
RainerZipperlingcello

Totaltime

CD75
STRINGQUARTETINDK155
1I.Allegro
2II.Andante
3III.Moltoallegro

STRINGQUARTETINGK156
4I.Presto
5II.Adagio
6III.Tempodiminuetto

STRINGQUARTETINCK157
7I.Withouttempoindication
8II.Andante
9III.Presto

STRINGQUARTETINFK158
10I.Allegro
11II.Andanteunpocoallegretto
12III.Tempodiminuetto

STRINGQUARTETINBFLATK159
13I.Andante
14II.Allegro
15III.Rondo:Allegrograzioso

STRINGQUARTETINEFLATK160
16I.Allegro
17II.Unpocoadagio
18III.Presto

SonareQuartet
JacekKlimkiewiczviolinI
LaurentiusBonitzviolinII
HidekoKobayashiviola
EmilKleincello

Totaltime

95010MozartCompleteEdition
276

801
545
537
837
718
743

4335

333
338
126

245
504
342

511
340
149

326
400
515

425
512
238

311
433
301

6759


CD76
STRINGQUARTETINFK168
1I.Allegro
2II.Andante
3III.Menuetto
4IV.Allegro

STRINGQUARTETINAK169
5I.Moltoallegro
6II.Andante
7III.Menuetto
8IV.Rondeaux:Allegro

STRINGQUARTETINCK170
9I.Temaconvariazioni
10II.Menuetto
11III.Unpocoadagio
12IV.Rondeaux:Allegro

STRINGQUARTETINEFLATK171
13I.AdagioZAllegroassaiAdagio
14II.Menuetto
15III.Andante
16IV.Allegroassai

STRINGQUARTETINBFLATK172
17I.Allegrospiritoso
18II.Adagio
19III.Menuetto
20IV.Allegroassai

STRINGQUARTETINDMINORK173
21I.Allegromamoltomoderato
22II.Andantinograzioso
23III.Menuetto41
24IV.Allegro

SonareQuartet
JacekKlimkiewiczviolinI,LaurentiusBonitzviolinII,HidekoKobayashiviola,EmilKleincello

Totaltime

CD77
STRINGQUARTETINGK387
1I.Allegrovivaceassai
2II.Menuetto&Trio:Allegretto
3III.Andantecantabile
4IV.Moltoallegro

STRINGQUARTETINDMINORK421
5I.Allegromoderato
6II.Andante
7III.Menuetto&Trio:Allegretto
8IV.AllegrettomanontroppoPiallegro

FranzSchubertQuartetofVienna
FlorianZwiauerviolinI,HelgeRosenkranzviolinII,HartmutPascherviola,VincentStadlmaircello

Totaltime

95010MozartCompleteEdition
277

420
150
237
204

339
320
304
210

442
256
215
305

512
303
214
211

415
236
312
254

504
316
0
308

7832

749
801
810
604

756
643
401
1048

5947


CD78
STRINGQUARTETINEFLATK428
1I.Allegronontroppo
2II.Andanteconmoto
3III.Menuetto&Trio:Allegro
4IV.Allegrovivace

STRINGQUARTETINBFLATK458THEHUNT
5I.Allegrovivaceassai
6II.Menuetto&Trio:Moderato
7III.Adagio
8IV.Allegroassai

FranzSchubertQuartetofVienna
FlorianZwiauerviolinI,HelgeRosenkranzviolinII,HartmutPascherviola,VincentStadlmaircello

Totaltime

CD79
STRINGQUARTETINAK464
1I.Allegro
2II.Menuetto&Trio
3III.Andante
4IV.Allegromanontroppo

STRINGQUARTETINCK465DISSONANCE
5I.AdagioZAllegro
6II.Andantecantabile
7III.Menuetto&Trio:Allegro
8IV.Allegromolto

FranzSchubertQuartetofVienna
FlorianZwiauerviolinI,HelgeRosenkranzviolinII,HartmutPascherviola,VincentStadlmaircello

Totaltime

CD80
STRINGQUARTETINDK499HOFFMEISTER
1I.Allegretto
2II.Menuetto&Trio:Allegretto
3III.Adagio
4IV.Moltoallegro

STRINGQUARTETINDK575
5I.Allegretto
6II.Andante
7III.Menuetto&Trio:Allegretto
8IV.Allegretto

FranzSchubertQuartetofVienna
FlorianZwiauerviolinI,HelgeRosenkranzviolinII,HartmutPascherviola,VincentStadlmaircello

Totaltime

95010MozartCompleteEdition
278

751
849
638
543

856
430
740
719

5742

726
632
1435
732

845
813
537
803

6659

1016
337
817
527

800
502
630
626

5343


CD81
STRINGQUARTETINBFLATK589
1I.Allegro
2II.Larghetto
3III.Menuetto&Trio:moderato
4IV.Allegroassai

STRINGQUARTETINFK590
5I.Allegromoderato
6II.Andante
7III.Menuetto&Trio:Allegretto
8IV.Allegro

FranzSchubertQuartetofVienna
FlorianZwiauerviolinI
HelgeRosenkranzviolinII
HartmutPascherviola
VincentStadlmaircello

STRINGQUARTETINGK80
9I.Adagio
10II.Allegro
11III.Minuetto
12IV.Rondo

SharonQuartet
GilSharonviolinI
RodicaCiocoiuviolinII
RonEphratviola
AlexanderHlshoffcello

Totaltime

CD82
PIANOSONATANO.1INCK279
1I.Allegro
2II.Andante
3III.Allegro
PIANOSONATANO.2INFK280
4I.Allegroassai
5II.Adagio
6III.Presto
PIANOSONATANO.3INBFLATK281
7I.Allegro
8II.Andanteamoroso
9III.Rondeau:Allegro

PIANOSONATANO.4INEFLATK282
10I.Adagio
11II.Menuetto
12III.Allegro

PIANOSONATANO.5INGK283
13I.Allegro
14II.Andante
15III.Presto

KlraWrtzpiano

Totaltime

621
759
729
353

927
730
430
524

559
330
300
222

6740

453
508
316
427
556
249
641
527
432

656
406
257

521
536
346

7304

95010MozartCompleteEdition
279


CD83
PIANOSONATANO.6INDK284
1I.Allegro
2II.Rondeauenpolonaise:Andante
3III.Andante(Temaconvariazioni)

PIANOSONATANO.7INCK309
4I.Allegroconspirito
5II.Andanteunpocoadagio
6III.Rondeau:Allegrettograzioso

PIANOSONATANO.8INAMINORK310
7I.Allegromaestoso
8II.Andantecantabileconespressione
9III.Presto

KlraWrtzpiano

Totaltime

CD84
PIANOSONATANO.9INDK311
1I.Allegroconspirito
2II.Andanteconespressione
3III.Rondeau:Allegro

PIANOSONATANO.10INCK330
4I.Allegromoderato
5II.Andantecantabile
6III.Allegretto

PIANOSONATANO.11INAK331
7I.Andantegrazioso
8II.Menuetto
9III.AllaTurca:Allegretto

KlraWrtzpiano

Totaltime

CD85
PIANOSONATANO.12INFK332
1I.Allegro
2II.Adagio
3III.Allegroassai

PIANOSONATANO.13INBFLATK333
4I.Allegro
5II.Andantecantabile
6III.Allegrettograzioso

PIANOSONATANO.14INCMINORK457
7I.Allegromolto
8II.Adagio
9III.Allegroassai

KlraWrtzpiano

Totaltime

508
420
1531

553
503
555

556
700
243

5812

423
446
600

636
629
538

1250
550
324

5637

629
438
643

718
529
630

524
738
420

5512

95010MozartCompleteEdition
280


CD86
PIANOSONATANO.15INFK533
1I.Allegro
732
2II.Andante
631
3III.Rondeau:Allegretto
621

PIANOSONATANO.16INCK545
4I.Allegro
316
5II.Andante
406
6III.Rondo
138

PIANOSONATANO.17INBFLATK570
7I.Allegro
540
721
8II.Adagio
9III.Allegretto
325

PIANOSONATANO.18INDK576
10I.Allegro
507
11II.Adagio
529
12III.Allegretto
422

KlraWrtzpiano

Totaltime
6145

CD87
1NinevariationsontheariettaLisondormaitfromtheoperaJuliebyNicolasDezdeK264(1778)
1420
2TwelvevariationsontheFrenchsongLabelleFranoiseK353(1778)
1411
3TwelvevariationsontheromanceJesuisLindorfromLebarbierdeSevillebyBeaumarchais,musicbyAntoineLaurent
BaudronK354(1778)
1513
4EightvariationsonthechorusDieudamourfromtheoperaLesmariagessamnitesbyAndrErnestModesteGrtry
K352(1781)
1116
5SixvariationsontheariaSalvetu,Domine
fromtheoperaIfilosofiimmaginariibyGiovanniPaisielloK398(1783)
647

BartvanOortfortepiano

Totaltime
6215

CD88
901
1SixvariationsonathemefromtheClarinetQuintet(K581)KAnh.137
2TenvariationsontheariaUnserdummerPbelmeintfromLarencontreimprvuebyChristophWillibaldGluckK455
(17834)
1252
3TwelvevariationsonanAllegrettoK500(1786)
839
4NinevariationsonamenuetbyJean[PierreDuportK573(1789)
1334
5EightvariationsonthesongEinWeibistdasherrlichsteDingfromtheSingspielDerdummeGrtnerbyJ.SchackorF.
Gerl,K613(1791)
1358

BartvanOortfortepiano

Totaltime
5830

95010MozartCompleteEdition
281


CD89
1TwelvevariationsontheFrenchsongAh,vousdirai[je,MamaninCK256(17812)
2EightvariationsontheDutchsongLaatonsjuichen,Batavieren!byChr.E.GraafinGK24(1766)
3SevenvariationsontheDutchsongWilhelmusvanNassauinDK25(1766)
4TwelvevariationsonamenuetbyJ.C.FischerinCK179(1774)
5EightvariationsonComeunagnellofromFraiduelitigantibyG.SartiinAK460(1782)
6SixvariationsonMiocaroAdonefromLafieradiVeneziabyAntonioSalieriinGK180(1772)
7FivevariationsinFK54(KAnh.138a)

PieterJanBelderfortepiano

Totaltime

CD90
1AndanteinBflatK15ii
2KlavierstckinFK33
3MoltoallegroinGK72a
4AndanteinCK1a
5AllegroinCK1b
6AllegroinFrK1c
7MenuetinFK1d
8MenuetinGK1e
9MenuetinCK1f
10MenuetinFK2
11AllegroinBflatK3
12MenuetinFK4
13MenuetinFK5
14AllegroinCK9a(5a)
15AllegroinFK15a
16AllegroinFK15m
17MenuetinCK61gII
18MenuetinDK94(73h)
198MenuetsK315a(315g)
20SonatensatzinGminorK312(189i,590d)
21CapriccioinCK395(300g)
22FugueinGminorK401(375e)

BernardFoccroulleorgan(13&22)
GuyPensonclavichord(49,15&16),harpsichord(1014,17,18&20)&Tangentenflgel(19&21)

Totaltime

CD91
1PreludeandFugueinCK394(383a)
2MarchinCK408/1(383e)
3FantasiainCminorK396(385f)
4FantasiainDminorK397(385g)

SUITEINCK399(385I)
5I.Ouverture
6II.Allemande
7III.Courante
8SonatensatzinBflatK400(372a)
9Marchefunbre,delSign.MaestroContrapuntoK453a
10FantasiainCminorK475
11RondoinDK485

LucDevospianoforte(14&811)
GuyPensonharpsichord(57)

Totaltime

95010MozartCompleteEdition
282

1217
538
624
1853
358
733
520

6003

314
106
113
024
015
039
122
053
056
044
103
124
057
230
119
115
207
115
1458
525
430
429

5311

957
328
805
537

403
507
222
444
152
1201
604

6425


CD92
1SixGermanDancesK509
2RondoinAminorK511
3AdagioinBminorK540
4AllegroinFKAnh.135
5AllegrettoinFKAnh.135
6MenuetinDK355(576b)
7AndantinoinEflatK236(588b)
8EinekleineGigueinGK574
9AndanteinFK616
10AdagioinCK356(617a)

LucDevospianoforte(17)
BernardFoccroulleorgan(8&9)
DennisJamesglassharmonica(10)

Totaltime

CD93
SONATAINDK381(1772)
1I.Allegro
2II.Andante
3III.Allegromolto
4FugueinGminorK401(1782)

SONATAINFK497(1786)
5I.AdagioAllegrodimolto
6II.Andante
7III.Allegro

BartvanOortfortepiano(primo)
UrsulaDtschlerfortepiano(secundo)

Totaltime

CD94
SONATAINCK19D(1765)
1I.Allegro
2II.Menuetto
3III.Rondeau:Allegretto
4FantasyinFminorK608(1791)formechanicalorgan
5Andante&VariationsinGK501(1786)

SONATAINCK521(1787)
6I.Allegro
7II.Andante
8III.Allegretto

BartvanOortfortepiano(primo)
UrsulaDtschlerfortepiano(secundo)

Totaltime

95010MozartCompleteEdition
283

836
940
1223
607
151
314
133
159
707
412

5731

540
823
418
332

1216
1330
746

5539

617
311
531
905
743

1315
640
811

6012


CD95
SONATAINBFLATK358(17734)
1I.Allegro
2II.Adagio
3III.Moltopresto

4Adagio&AllegroinFminorK594(1790)formechanicalorgan
5FugueinCminorK426(1783)fortwopianos409

SONATAINDK448(1781)fortwopianos
6I.Allegroconspirito
7II.Andante
8III.Moltoallegro

BartvanOortfortepiano(primo:K594&448)
UrsulaDtschlerfortepiano(primo:K358&426)

Totaltime

CD96
1OuvertureinCK339
2AndanteinFK616
3AdagioZAllegroZAdagioK594
4AdagioinCK356
6KlavierstckinFK33b
7RondoinFK15h
8AllegroinFK15a
9RondoinDK15d
10AdagioandRondoinCminorK617
11GroeFantasieinFminorK608

IvanRondaorgan

Totaltime

CD97
REQUIEMINDMINORK626
1Introitus:Requiemaeternam
2Kyrieeleison
3Diesirae
4Tubamirum
5Rextremendae
6Recordare
7Confutatis
8Lacrimosa
9DomineJesu
10Hostias
11Sanctus
12Benedictus
13AgnusDei
14Luxaeterna

PamelaHeuvelmanssoprano
BarbaraWerneralto
RobertMorvajtenor
ThomasPfeifferbass
ChamberChoirofEurope
SddeutschesKammerorchesterPforzheim
NicolMatt

Totaltime

95010MozartCompleteEdition
284

537
652
410
853

1124
929
637

5734

500
741
1228
412
129
125
115
137
1253
1109

5915

446
245
158
306
209
424
229
304
346
400
140
427
403
539

4816


CD98
LITANIAEDEVENERABILIALTARISSACRAMENTOINEFLATK243
1Kyrieeleison
2Panisvivus
3Verbumcarofactum
4Hostiasancta
5Tremendum
6Dulcissimumconvivium
7Viaticum
8Pignusfuturaegloriae
9AgnusDei

LITANIAELAURETANAEINBFLATK109
10Kyrieeleison
11SanctaMaria
12Salusinfirmorum
13ReginaAngelorum
14AgnusDei

AnnemarieKremersoprano(K243)
ChamberChoirofEurope
TeatroArmonicoStuttgart(K109)
KurpflzischesKammerorchesterMannheim(K243)
NicolMatt

Totaltime

CD99
LITANIAEDEVENERABILIALTARISSACRAMENTOINBFLATK125
1Kyrieeleison
2Panisvivus
3Verbumcarofactum
4Hostiasancta
5Tremendum
6Panisomnipotentia
7Viaticum
8Pignusfuturaegloriae
9AgnusDei

LITANIAELAURETANAEINDK195
10Kyrieeleison
11SanctaMaria
12Salusinfirmorum
13ReginaAngelorum
14AgnusDei

PamelaHeuvelmans(K125),AnnemarieKremer(K195)soprano
ChamberChoirofEurope
SddeutschesKammerorchesterPforzheim(K125)
KurpflzischesKammerorchesterMannheim(K195)
NicolMatt

Totaltime

95010MozartCompleteEdition
285

324
504
058
333
234
402
130
521
558

138
336
100
144
226

4301

404
430
049
333
119
656
124
452
619

530
1029
235
446
623

6330


CD100
VESPERAESOLENNESDEDOMINICAINCK321
1DixitDominus
2Confitebor
3BeatusVir
4Laudatepueri
5LaudateDominum
6Magnificat

VESPERAESOLENNESDECONFESSOREINCK339
7DixitDominus
8Confitebor
9BeatusVir
10Laudatepueri
11LaudateDominum
12Magnificat

AnnemarieKremer(K321),PamelaHeuvelmans(K339)soprano
ChamberChoirofEurope
KurpflzischesKammerorchesterMannheim
NicolMatt

Totaltime

CD101
REGINACOELIINCK108
1I.Allegro
2II.Tempomoderato
3III.Adagiounpocoandante
4IV.Allegro

REGINACOELIINBFLATK127
5I.Allegromaestoso
6II.Andante
7III.Allegro
8SanctaMaria,materDeiinFK273
9ReginacoeliinCK276

PamelaHeuvelmans(K108),AnnemarieKremer(K127)soprano
ChamberChoirofEurope
SddeutschesKammerorchesterPforzheim(K108&276)
KurpflzischesKammerorchesterMannheim(K127)
TeatroArmonicoStuttgart(K273)
NicolMatt

Totaltime

95010MozartCompleteEdition
286

319
535
435
415
455
450

417
408
507
348
505
455

5450

320
348
421
320

341
819
247
323
646

3945


CD102
SCANDECOELILIMINAK34
1Scandecoelilimina
2Caraopignora
3InternatosmulieriumK72

BENEDICTUSSITDEUSK117
4BenedictussitDeus
5Aria
6Jubilate
7SubtuumpraesidiumK198
8MisericordiasDominiK222
9VenitepopuliK260
10AlmaDeiCreatorisK277
11GodisourrefugeK20

MISEREREK85
12Miserere
13Etsecundum
14Quoniam
15Ecce
16Asperges
17Averte
18Neprojicias
19Docebo
20QuaeriteprimumregnumDeiK86

ZWEIDEUTSCHEKIRCHENLIEDERK343
21OGottesLammK343a
22AlsausAegyptenK343b

SoloquartetK72:MariettaFischessersopranoBarbaraWerneraltoBenoitHallertenor
ChristofFischesserbassSoloquartetK222:AnjaTilchsopranoBarbaraWerneralto
DanielSchreibertenorManfredBittnerbassMiserereK85:AnjaTilchsopranosolo
Terzet:BarbaraWerneraltoDanielSchreibertenorManfredBittnerbass
K86:Solos:DanielSchreibertenorManfredBittnerbassNicolMattorgan(K85)
TeatroArmonicoStuttgart(K198,222,277&86)
KurpflzischesKammerorchesterMannheim(K34,72,117,260&343)
NicolMatt

Totaltime

95010MozartCompleteEdition
287

306
142
547

142
357
159
419
736
459
519
057

035
101
059
047
055
042
051
129
128

146
906

6100


CD103
1VenisancteSpiritusinCK47

TEDEUMLAUDAMUSK141
2TeDeumlaudamus
3Teergoquaesumus
4Aeternafac
5InteDominosperavi
6ErgointerestinGK143
7Kommether,ihrfrechenSnderinBflatK146

EXSULTATE,JUBILATEK165
8Exsultate,jubilate
9Recitativo:Tandemadvenithora
10TuVirginumcorona
11Alleluja

DIXITDOMINUSaMAGNIFICATINCK193
12DixitDominus
13Magnificat
14TantumergoinDK197
15AveverumcorpusinDK618

AnnemarieKremer(K143&165),AnjaTilch(K146)soprano
ChamberChoirofEurope
SddeutschesKammerorchesterPforzheim(K47,165)
KurpflzischesKammerorchesterMannheim(K141,193&197)
TeatroArmonicoStuttgart(K143,146&618)
NicolMatt

Totaltime

CD104
GREATMASSINCMINORK427
1KYRIE

GLORIA
2Gloriainexcelsis
3Laudamuste
4Gratiasagimustibi
5DomineDeus
6Quitollis
7Quoniamtusolus
8JesuChriste
9CumSanctoSpiritu

CREDO
10CredoinunumDeum
11Etincarnatusest

GLORIA
12Sanctus
13Hosanna
14Benedictus

ValentinaFarcassopranoIAnnemarieKremersopranoII
DanielSanstenorChristofFischesserbass
JensWollenschlgerorgan
CamerataWrzburgChamberChoirofEurope
NicolMatt

Totaltime

95010MozartCompleteEdition
288

434

219
038
158
202
558
402

457
055
740
255

433
557
327
305

5500

726

227
502
109
244
512
351
044
401

337
906

136
207
520

5422


CD105
1KyrieinDminorK341

MISSASOLEMNISINCK337
2Kyrie
3Gloria
4Credo
5Sanctus
6Benedictus
7AgnusDei

MASSINCK317KRNUNGSbMESSE
8Kyrie
9Gloria
10Credo
11Sanctus
12Benedictus
13AgnusDei

MariettaFischesser(K337),PamelaHeuvelmans(K317)soprano
BarbaraWerneraltoBenoitHallertenorManfredBittnerbass
JensWollenschlgerorgan
KurpflzischesKammerorchesterMannheim(K341&337)
SdwestdeutschesKammerorchesterPforzheim(K317)
ChamberChoirofEurope
NicolMatt

Totaltime

CD106
MISSABREVISINBFLATK275
1Kyrie
2Gloria
3Credo
4Sanctus
5Benedictus
6AgnusDei522

MISSALONGAINCK262
7Kyrie
8Gloria
9Credo
10Sanctus
11Benedictus
12AgnusDei

AnjaBittner(K275),MariettaFischesser(K262)soprano
GabrieleWunderer(K275),BarbaraWerner(K262)alto
RobertMorvaj(K275),BenoitHaller(K262)tenor
ManfredBittner(K275),ChristofFischesser(K262)bass
JensWollenschgerorgan
KammerorchesterMannheim
ChamberChoirofEurope
NicolMatt

Totaltime

95010MozartCompleteEdition
289

718

153
326
549
141
218
633

318
442
655
203
324
621

5555

151
254
453
107
255

315
529
1158
111
203
404

4710


CD107
MISSABREVISINCK259ORGELSOLOMESSE
1Kyrie
2Gloria
3Credo
4Sanctus
5Benedictus
6AgnusDei

MISSABREVISINCK258SPAURMESSE
7Kyrie
8Gloria
9Credo
10Sanctus
11Benedictus
12AgnusDei

MISSAINCK257CREDOMESSE
13Kyrie
14Gloria
15CredoinunumDeum
16Etincarnatusest
17Sanctus
18Benedictus
19AgnusDei

PetraLabitzke(K259&258),MariettaFischesser(K257)soprano
BarbaraWerneraltoDanielSans(K259&258),BenoitHaller(K257)tenor
ChristofFischesserbassJensWollenslgerorgan
KurpflzischesKammerorchesterMannheim
ChamberChoirofEurope
NicolMatt

Totaltime:5842

95010MozartCompleteEdition
290

200
158
339
057
208
237

148
231
447
105
253
435

217
338
158
702
108
539
601


CD108
MISSABREVISINCK220SPATZENMESSE
1Kyrie
2Gloria
3Credo
4Sanctus
5Benedictus
6AgnusDei

MISSABREVISINDK194
7Kyrie
8Gloria
9Credo
10Sanctus
11Benedictus
12AgnusDei

MISSABREVISINFK192
13Kyrie
14Gloria
15Credo
16Sanctus
17Benedictus
18AgnusDei

PetraLabitzke(K220),AnjaBittner(K194&192)soprano
BarbaraWerner(K220),GabrieleWunderer(K194&192)alto
DanielSans(K220)RobertMorvaj(K194&192)tenor
ChristofFischesser(K220)ManfredBittner(K194&192)bass
JensWollenschlgerorgan
KurpflzischesKammerorchesterMannheim
ChamberChoirofEurope
NicolMatt

Totaltime

95010MozartCompleteEdition
291

154
255
426
049
306
313

143
245
534
116
146
407

324
456
542
114
156
341

5428


CD109
MISSAINCK167INHONOREMSSMAETRINITATIS
1Kyrie
2Gloria
3CredoinunumDeum
4Etincarnatusest
5EtinSpiritumSanctum
6Etunamsanctamcatholicam
7Etvitamventurisaeculi
8Sanctus
9Benedictus
10AgnusDei

MISSABREVISINGK140
11Kyrie
12Gloria
13Credo
14Sanctu
15Benedi
16AgnusDei

PetraLabitzkesopranoBarbaraWerneralto
DanielSanstenorChristofFischessebass
JensWollenschlgerorgan
CamerataWrzburg(K167)
KurpflzischesKammerorchesterMannheim(K140)
ChamberChoirofEurope
NicolMatt

Totaltime

95010MozartCompleteEdition
292

255
412
228
332
246
110
236
122
312
457

117
352
443
s053
ctus125
358

4520


CD110
MISSASOLEMNISINCMINORK139WAISENHAUSMESSE
KYRIE
1Kyrieeleison
2Christeeleison
3Kyrieeleison

GLORIA
4GloriainexcelsisDeo
5Laudamuste
6Gratiasagimustibi
7DomineDeus
8Quitollis
9Quoniamtusolussanctus
10CumSanctoSpiritu

CREDO
11CredoinunumDeum
12Etincarnatusest
13Crucifixus
14Etresurrexit
15EtinSpiritumSanctum
16Etunamsanctamcatholicam
17Etvitamventurisaeculi

18SANCTUS
19BENEDICTUS

AGNUSDEI
20AgnusDei
21Donanobispacem

MISSABREVISINDMINORK65
22Kyrie
23Gloria
24Credo
25Sanctus
26Benedictus
27AgnusDei

AnjaBittnersopranoBarbaraWerner(K139),GabrieleWunderer(K65)alto
GerhardNennemann(K139),RobertMorvaj(K65)tenorManfredBittnerbass
JensWollenschlgerorganSdwestdeutschesKammerorchesterPforzheim(K139)
KurpflzischesKammerorchesterMannheimcK65d
ChamberChoirofEuropeNicolMatt

Totaltime

95010MozartCompleteEdition
293

404
105
217

043
150
116
152
150
210
234

206
259
201
124
151
054
220
154
248

355
200

135
211
455
055
117
206

5658


CD111
MISSAINCK66DOMINICUSMESSE
1KYRIE

GLORIA
2GloriainexcelsisDeo
3Laudamuste
4Gratiasagimustibi
5DomineDeus
6Quitollis
7Quoniamtusolussanctus
8CumSanctoSpiritu

CREDO
9CredoinunumDeum
10Etincarnatusest
11Crucifixus
12Etresurrexit
13EtinSpiritumSanctum
14Etinunamsanctamcatholicam
15Etvitamventurisaeculi

16SANCTUS
17BENEDICTUS
18AGNUSDEI

MISSABREVISINGK49
19Kyrie
20Gloria
21Credo
22Sanctus
23Benedictus
24AgnusDei
25KyrieinFK33

AnjaBittner,AnnemarieKremer(SoloariasK66)soprano
BarbaraWerner(K66),GabrieleWunderer(K49)alto
BenoitHaller(K66),RobertMorvaj(K49)tenor
ManfredBittnerbassJensWollenschlgerorgan
SdwestdeutschesKammerorchesterPforzheim(K66)
KurpflzischesKammerorchesterMannheim(K49&33)
ChamberChoirofEuropeNicolMatt

Totaltime

95010MozartCompleteEdition
294

337

029
248
103
240
316
406
250

207
340
215
111
302
143
214
226
223
430

128
324
721
130
142
227
216

6630


CD112
LABETULIALIBERATAK118
1Sinfonia

PART1
2Recitativo:PoplideBetulia(Ozia)
3Aria:Dognicolpa(Ozia)
4Recitativo:Einchesperar?(Cabri/Amital)
5Aria:Maquelvirt(Cabri)
6Recitativo:Gialememorieantiche(Ozia/Cabri/Amital)
7Aria:Nonhaicor(Amital)
8Recitativo:Equelpacesperate(Ozia/Amital/Coro)
9Aria:EquelpaceSperate(Ozia/Coro)
10Recitativo:Chicostei(Cabri/Amital/Ozia/Giuditta)
11Aria:Dalpariinfeconda(Giuditta)
12Recitativo:Ohsaggia,ohsanta(Ozia/Cabri/Giuditta)
13Aria:Piet,seiratosei(Ozia/Coro)
14Recitativo:Signor,Carmiateviene(Cabri/Amital/Ozia/Achior)
15Aria:Terribiledaspetto(Achior)
16Recitativo:Ticonsola,Achior(Ozia/Cabri/Achior/Giuditta)
17Aria:Partoinerme,enonpavento(Giuditta)
18Coro:Ohprodigo!ohstupor!

BaltazarZuniga(Ozia)ElenaBiscuola(Giuditta)AngelaBucci(Amital)
AbramoRosalen(Achior)CaterinaPatriziaVaccari(Cabri)
PamelaLuciariini(Carmi)
CoroeOrchestradellOficinaMusicum
directedfromtheharpsichordbyRiccardoFavero

Totaltime

CD113
LABETULIALIBERATAK118
PART2
1Recitativo:Troppomalcorrisponde(Achior/Ozia)
2Aria:SeDiovendertuvuoi(Ozia)
3Recitativo:Confusoioson(Achior/Ozia/Amital)
4Aria:Quelnocchier(Amital)
5Recitativo:Lungamentenondura(Ozia/Amital/Coro/Cabri/Giuditta/Achior)
6Aria:Prigionierchefaritorno(Giuditta)
7Recitativo(Achior)
8Aria:Tesoloadoro(Achior)
9Recitativo:Dituavittoria(Ozia/Amital)
10Aria:Controppareavilta(Amital)
11Recitativo:Quantacura(Cabri/Carmi/Ozia/Amital)
12Aria:Queimotichesenti(Carmi)
13Recitativo:Seguansi,oCarmi(Ozia/Amital/Cabri/Achior/Giuditta)
14Coro:LodialgranDio

BaltazarZuniga(Ozia)ElenaBiscuola(Giuditta)AngelaBucci(Amital)
AbramoRosalen(Achior)CaterinaPatriziaVaccari(Cabri)
PamelaLuciariini(Carmi)
CoroeOrchestradellOficinaMusicum
directedfromtheharpsichordbyRiccardoFavero

Totaltime

95010MozartCompleteEdition
295

349

056
653
144
347
357
401
244
408
410
605
240
408
317
357
253
645
224

6825

602
845
135
556
1033
1018
059
304
034
412
304
220
054
749

6610


CD114
DIESCHULDIGKEITDESERSTENGEBOTSK35
PART1
1Sinfonia
2Recitativo:DielblichundgerechteBitte(Gerechtigkeit/Christgeist/Barmherzigkeit)
3Aria:MitJammermuichschauen(Christgeist)
4Recitativo:SovielerSeelenFall(Barmherzigkeit/Gerechtigkeit)
5Aria:EinergrimmterLwebrllet(Barmherzigkeit)
6Recitativo:Wasglaubstdu(Barmherzigkeit/Gerechtigkeit/Christgeist)
7Aria:Erwache,faulerKnecht(Gerechtigkeit)
8Recitativo:Erregetsich(Christgeist/Barmherzigkeit/Gerechtigkeit)
9Recitativo:Wie,wererwecketmich(Christ/Weltgeist)
10Aria:HatderSchpferdiesesLeben(Weltgeist)

ArleenAugrsoprano(Weltgeist)KrisztinaLakisoprano(Gerechtigkeit)
SylviaGesztysoprano(Barmherzigkeit)WernerHollwegtenor(Christgeist)
ClaesH.Ahnsjtenor(Christ)
BerlinerDomkapelle
RolandBader

Totaltime

CD115
DIESCHULDIGKEITDESERSTENGEBOTSK35
PART2
1Recitativo:DaTrumeTrumesind(Christ)
2Aria:JenerDonnerworteKraft(Christ)
3Recitativo:Istdieses,osozweiflenimmermehr(Weltgeist/Christ/Christgeist)
4Aria:SchildreeinenPhilosophen(Weltgeist)
5Recitativo:WenhrichnunhierinderNhe(Weltgeist/Christ/Christgeist)
6Aria:Manchesbelwillzuweilen(Christgeist)
7Recitativo:ErhltmicheinemKrankengleich(Christ/Christgeist/Weltgeist)
8Recitativo:Hastdununmehrerfahren(Barmherzigkeit/Christgeist/Gerechtigkeit)
9Terzetto:LatmireuerGnadeSchein(Christgeist/Barmherzigkeit/Gerechtigkeit)

ArleenAugrsoprano(Weltgeist)KrisztinaLakisoprano(Gerechtigkeit)
SylviaGesztysoprano(Barmherzigkeit)WernerHollwegtenor(Christgeist)
ClaesH.Ahnsjtenor(Christ)
BerlinerDomkapelle
RolandBader

Totaltime

95010MozartCompleteEdition
296

335
159
529
216
613
352
908
018
433
719

4501

139
850
205
520
446
818
223
131
1038

4548


CD116
1DIR,SEELEDESWELTALLSK429Cantataforboysoprano,malechoir&orchestra

FranzEllmerboysoprano

2LIEDZURGESELLENREISEDIEIHREINEMNEUENGRADE'K468fortenor&organ
3DIEMAURERFREUDEK471Cantatafortenor,malechoir&orchestra
4MAURERISCHETRAUERMUSIKK477fororchestra
5ZERFLIESSETHEUT,GELIEBTEBRUDERK483Liedfortenor,malechoir&organ
6IHRUNSRENEUENLEITERK484Liedfortenor,malechoir&organ
7ADAGIOANDFUGUEINCMINORK546forstringquartet

PaulRoczek,PeterKattviolin,JrgenGeiseviola,WilfredTachezicello

8DIEIHRDESUNERMELICHENWELTALLSSCHPFEREHRTK619Cantatafortenor&piano
9LAUTVERKNDEUNSREFREUDEK623
EinekleineFreimaurerbKantatefor2tenors,baritone,malechoir&orchestra

KurtEquiluz,RudolfReschtenor,LeoHeppebaritone

10LATUNSMITGESCHLUNGNENHNDENK623AAnhang
zumSchlussderFreimauerloge,formalechoir&organ

KurtEquiluztenorKurtRapfpiano&organ
ChoirandOrchestraoftheViennaVolksoper/PeterMaag

Totaltime

CD117
GRABMUSIKK42
1Recitativo:Wobinich,bittreSchmerz?(Soul)Aria:Felsen,spalteteurenRachen(Soul)
2Recitativo:GeliebteSeel,wasredestdu?(Angel)Aria:BetrachtdiesHerz(Angel)
3Recitativo:OHimmel!WaseintraurigLicht(Soul)
4Duetto:Jesu,washabichgetan?(Soul,Angel)
5Recitativo:OlobenswerterSinn(Angel)Coro:Jesu,wahrerGottessohn

Angel:EdithWienssoprano
Soul:ThomasHampsonbass
ConcentusVocalis
WienerAkademie
MartinHaselbck

DAVIDDEPENITENTEK469
6Coro:Alzaileflebilivoci
7Coro:Cantiamleglorie
8Aria:Lungilecureingrate(SopranoII)
9Coro:Seipursempre
10Duetto:Sorgi,oSignore(SopranoI&II)
11Aria:Ate,fratantiaffanni(Tenor)
12Coro:Sevuoi,puniscimi
13Aria:Fraloscureombrefuneste(SopranoI)
14Terzetto:Tuttelemiesperanze(SopranoI&II,Tenor)
15Coro:ChiinDiosolspera

GertraudLandwehrHerrmannsopranoI
SusanneJohnssopranoII
HermannFischertenor
CollegiumMusicumofthe
UniversityofTbingen
WilfriedFischer

Totaltime

95010MozartCompleteEdition
297

1258

202
704
722
223
331
814

813
1402

322

6925

724
456
124
351
452

653
234
454
118
246
649
447
625
449
546

6933


CD118
CANONS
1AdagioK410
2LeckmirdenArschK233
3LieberFreistdtlerK232
4CanonK508aNo.1
5OdueselhafterMartinK560b
6BonanoxK561
7CanonK508aNo.2
8LeckmichimArschK231
9CanonK508aNo.3
10KyrieK89
11AllelujaK553
12AveMariaK554
13DonanobispacemK109
14CanonK508aNo.4
15HeiterkeitK507
16HeiwenndieGlserK89a
17CanonK508aNo.5
18Essen,trinkenK234
19AufdasWohlK508
20CanonK508aNo.6
21IncipeK89aII
22CantateDominoK89aII
23ConfitebortibiK89aII
24TebanabellaK89aII
25CanonK508aNo.7
26GrechteltsenkK556
27GehnwirimPraterK558
28CanonK508aNo.8
29VamodicoreK348
30LacrimosaK555
31CarobellidolmioK562
32NascosoeilmiosolK557
33DifficilelectuK559
34CanonK508b
35Seht,SieistdahinK229
36Selig,seligalleK230
37HeildemTagK347
38Canonfor2violins,violaandbassK191
39Horch,ihrsesLiedK562a
40LebetwohlK228
41SinktdieNachtK109d

ChamberChoirofEurope
NicolMatt

Totaltime

107
146
218
103
247
116
053
159
108
541
124
152
111
119
114
051
117
126
058
101
156
151
148
107
126
116
200
123
149
154
155
237
122
216
218
210
144
110
105
104
126

6806

95010MozartCompleteEdition
298


CD119
CONCERTARIASFORSOPRANO&ORCHESTRA
1DerLiebehimmlischesGefhlK119
2Vorreispiegarvi,ohDioK418
3Cara,selemiepeneKdeest
4SetuttiimalimieiK83
5Alcandro,loconfessoNonsdondevieneK294
6Seardire,esperanzaK82
7Ah,spiegarti,ohDioK178

FrancinevanderHeydensoprano
EuropeanSinfonietta
EdSpanjaard

Totaltime

CD120
CONCERTARIASFORSOPRANO&ORCHESTRA
1ChiomiscordiditeNontemer,amatobeneK505
2AlmagrandeenobilcoreK578
3AquestosenoOrcheilcieloK374
4BastavincestiAh,nonlasciarmiK486a(295a)
5Aldesio,dichitadoraK577
6ConservatifedeleK23
7VoiaveteuncorfedeleK217
8MiseromiMiseropargolettoK77
9NehmtmeinenDankK383

MirandavanKralingensoprano
EuropeanSinfonietta
EdSpanjaard

Totaltime

CD121
CONCERTARIASFORTENOR&ORCHESTRA
1Va,dalfurorportataK21(19c)
2OrcheildoverTaliecotantisonoK36(33i)
3SimostralasorteK209
4Conossequio,conrispettoK210
5ClaricecaramiasposaK256
6SeallabbromiononcrediK295
7Perpiet,nonricercateK420
8Misero!osogno...Aura,cheintornospiriK431

MarcelReijanstenor
EuropeanChamberOrchestra
WilhelmKeitel

Totaltime

95010MozartCompleteEdition
299

607
613
941
751
924
642
314

4915

1005
443
823
524
555
659
704
1301
312

6448

558
843
242
257
146
1001
543
923

4711


CD122
CONCERTARIASFORBASS&ORCHESTRA
1IotilascioKAnh.245
2Cosdunquetradisci...AspririmorsiatrociK432(421a)
3DitealmenoinchemancaiK479
4MandinaamabileK480
5Alcandro,loconfessoNons,dondevieneK512
6MentretilascioK513
7IchmchtewohldenKaiserseinK539
8UnbaciodimanoK541
9PerquestabellamanoK612

POPOLIDITESSAGLIAK316
10PopolidiTessaglia
11Iononchiedo

EzioMariaTisibassAnnemarieKremersoprano(K316)
K479&480:
CarolineVitalemezzosopranoMarcelReijanstenor
EzioMariaTisibassChristianTchelebievbass(K479)
EuropeanChamberOrchestra
WilhelmKeitel

Totaltime

CD123
CONCERTARIASFORSOPRANO&ORCHESTRA
1Ahseinciel,benignestelleK538
2Chis,chis,qualsiaK582
3Vado,madove?ohDei!K583
4Chiomiscordite?Nontemer,amatobeneK490
5Perpiet,bellidolmioK78(73b)
6Oh,temerarioArbaceK79(73d)
7Bellamiafiamma,addio!Resta,ohcaraK528
8Ah,loprevidi!Ah,tinvolaDeh,nonvarcarK272
9Misera,doveson!Ah!nonsoniocheparloK369

AntoniaBourv,MaraileLichdi,YukaMatsuokaLimachersoprano
AnnaHaasemezzosoprano
EuropeanChamberSoloists
NicolMatt

Totaltime

CD124
CONCERTARIASFORSOPRANO&ORCHESTRA
1Miasperanzaadorata!aAh,nonsai,qualpenasaiildovertiK416
2NoncurolaffettoK74b
3FracentoaffanniK88
4ABereniceaSolnascenteK70
5Ma,chevifece,ostelleaSperaivicinoillidoK368
6No,no,chenonseicapaceK419

MaraileLichdi,YukaMatsuokaLimachersoprano
EuropeanChamberSoloists
NicolMatt

Totaltime

95010MozartCompleteEdition
300

258
350
620
452
701
651
240
209
703

325
639

5355

740
359
411
717
345
517
1005
1410
704

6332

925
517
1012
1148
851
440

5016


CD125
1AndieFreudeK53(JohannPeterUz)
2AufdiefeierlicheJohannislogeK148(LudwigFriedrichLenz)
3DansunboissolitaireK308(AntoineHoudartdelaMotte)
4DieZufriedenheitK349(JohannMartinMiller)
5SeidumeinTrostK391(JohannTimotheusHermes)
6LiedzurGesellenreiseK468(JosephFranzvonRatschky)
7DieZufriedenheitK473(ChristianFelixWeie)
8DiebetrogeneWeltK474(ChristianFelixWeie)
9LiedderFreiheitK506(JohannesAloysBlumauer)

ZWEIDEUTSCHEKIRCHENLIEDERK343(Anon.)
10OGotteslamm
11Alsausgypten(Psalm114)

12DieVerschweigungK518(ChristianFelixWeie)
13DasLiedderTrennungK519(KlamerEberhardKarlSchmidt)
14AbendempfindunganLauraK523(Anon.)
15AnChloeK524(JohannGeorgJacobi)
16DasTraumbildK530(LudwigHeinrichChristophHlty)
17LiedbeimAuszugindasFeldK552(Anon.)

BasRamselaarbass/baritone
BartvanOortfortepiano

Totaltime

CD126
SONGS
1Oiseaux,sitouslesansK307(AntoineFerrand)
2DansunboissolitaireK308(AntoineHoudartdelaMotte)
3WieunglcklichbinichnitK147(Anon.)
4IchwurdaufmeinemPfadK390(JohannTimotheusHermes)
5VerdanktseiesdemGlanzderGroenK392(JohannTimotheusHermes)
6DerZaubererK472(ChristianFriedrichWeie)
7DasVeilchenK476(JohannWolfgangvonGoethe)
8DieAlteK517(FriedrichvonHagedorn)
9AlsLuisedieBriefeihresungetreuenLiebhabersverbrannteK520(GabrielevonBaumberg)
10AbendempfindunganLauraK523(Anon.)
11DeskleinenFriedrichsGeburtstagK529
(JohannEberhard,FriedrichSchall,Finalverse:JoachimHeinrichCampe)
12DiekleineSpinnerinK531(Anon.)
13SehnsuchtnachdemFrhlingeK596(ChristianAdolfOverbeck)
14DerFrhlingK597(ChristianChristophSturm)
15DasKinderspielK598(ChristianAdolfOverbeckd
16RidentelacalmaK152(Anon.)

ClaronMcFaddensoprano
BartvanOortfortepiano

Totaltime

95010MozartCompleteEdition
301

422
314
257
247
302
317
215
255
212

141
222
322
616
427
232
410
247

5449

133
303
059
304
301
211
240
400
145
454
259
324
218
533
241
335

4750


CD127
APOLLOETHYACINTHUSK38
EinlateinischesIntermediumindreiAktenzudemSchuldramaClementiaCroesi|Libretto:P.RufinusWidl
ACT1
1Intrada
2Recitativo:Amice!iamparatasuntomnia
3No.1Chorus:NumenoLatoniumOApollo
4Recitativo:Heume!periimus
5No.2Aria:SaepeterrentNumina
6Recitativo:Ahnate!verapoqueris
7No.3Aria:IampastorApollo
ACT2
8Recitativo:Amarenumquidfilia
9No.4Aria:Laetari,iocari
10Recitativo:Rex!desalutefilii
11No.5Aria:En!duosconspicis
12Recitativo:Heu!Numen!Ecce!
13No.6Duetto:Discedecrudelis!

RobertMorvaitenor(Oebalus,KingofLacedemonia)
AntoniaBourvsoprano(Melia,hisdaughter)
AnnaHaasesoprano(Hyacinthus,hisson)
DanielLageralto(Apollo,friendstayingwithOebalus)
AlonHararialto(Zephyrus,confidantofHyacinthus)
FlorianPreybaritone(PriestApollos)
EuropeanChamberSoloists
NicolMatt

Totaltime

CD128
ACT3
1Recitativo:NonestQuisergo
2No.7Aria:Utnavisinaequoreluxuriante
3Recitativo:Quocumquemeconverto
4No.8Duetto:Natuscadit,atqueDeus
5Recitativo:Rex!meredirecogit
6No.9Terzetto:Tandempostpurbidafulmina

RobertMorvaitenor(Oebalus,KingofLacedemonia)
AntoniaBourvsoprano(Melia,hisdaughter)
AnnaHaasesoprano(Hyacinthus,hisson)
DanielLageralto(Apollo,friendstayingwithOebalus)
AlonHararialto(Zephyrus,confidantofHyacinthus)
FlorianPreybaritone(PriestApollos)
EuropeanChamberSoloists
NicolMatt

Totaltime

95010MozartCompleteEdition
302

401
350
502
154
757
408
314
229
622
803
302
309
800

6128

238
648
401
406
617
307

2704


CD129
BASTIENUNDBASTIENNEK50
Singspielinoneact
1Intrada
2Aria:MeinliebsterFreundhatmichverlassen
3Dialog:Oh,dieserTreulose
4Aria:IchgehjetztaufdieWeide
5ColasAuftritt(Orchestra)
6Aria:BefragetmicheinzartesKind
7Dialog:GutenMorgen,HerrColas
8Aria:WennmeinBastieneinstimScherze
9Dialog:DasschneFruleinkenntsichaus
10Aria:Wrdichauch,wiemancheBuhlerinnen
11Dialog:Seiunbesorgt
12Duetto:AufdenRat,denichgegeben
13Dialog:Daluftsiehin
14Aria:GrossenDankdirabzustatten
15Dialog:Alsohastdudichbesonnen
16Aria:Geh!dusagstmireineFabel
17Dialog:EsistnunmaldieWahrheit
18Aria:Diggi,daggi
19Dialog:Ichbittedich
20Aria:MeinerLiebstenschneWangen
21Dialog:Daistsie!Wastun?
22Aria:Erwarmirsonsttreuundergeben
23Dialog:Verzeih,Bastienne!Ichwarverhext!
24Aria:Gehhin!Ichwill
25Dialog:Siehan!Dubistnochhier?
26Aria:DeinTrotzvermehrtsich
27Dialog:Wasist?Washltdichauf?
28Duetto:Geh!geh!geh!HerzvonFlandern
29Terzetto:Kinder!Kinder!seht,nachSturmundRegen

DagmarSchellenbergersoprano(Bastienne)RalphEschrigtenor(Bastien)RenPapebass(Colas)
RundfunkSinfonieOrchesterLeipzig/MaxPommer

Totaltime

95010MozartCompleteEdition
303

147
157
015
119
025
111
043
216
014
224
029
137
020
150
031
116
036
117
017
251
039
159
036
452
031
044
023
504
303

4124


CD130
LAFINTASEMPLICEK51
OperabuffainthreeactsLibretto:CarloGoldoni&MarcoColtellini
1Sinfonia557
ACT1
Scena1
2Coro
3Recitativo(Giacinta/Ninetta/Fracasso/Simone)
4Aria(Simone)

Scena2
5Recitativo(Giacinta/Ninetta/Fracasso)
6Aria(Giacinta)

Scena3
7Recitativo(Fracasso)
8Aria(Cassandro)
9Recitativo(Fracasso/Cassandro)
10Aria(Fracasso)
11Recitativo(Cassandro)

Scena4
12Aria(Rosina)
13Recitativo(Ninetta/Rosina/Polidoro)

Scena5
14Recitativo(Polidoro/Cassandro)
15Aria(Polidoro)

Scena6
16Recitativo(Cassandro/Rosina)
17Aria(Cassandro)

Scena7
18Recitativo(Fracasso/Rosina/Ninetta)
19Aria(Rosina)

Scena8
20Recitativo(Polidoro/Ninetta/Fracasso)
21Aria(Ninetta)

Scena9
22Recitativo(Polidoro)
23Finale(Rosina/Fracasso/Polidoro/Ninetta/Cassandro/Simone/Giacinta)

HelenDonath(Rosina)RobertHoll(DonCassandro)
AnthonyRolfeJohnson(DonPolidoro)TeresaBerganza(Giacinta)
JuttaRenateIhloff(Ninetta)ThomasMoser(Fracasso)RobertLloyd(Simone)
MozarteumOrchesterSalzburg/LeopoldHager

Totaltime

95010MozartCompleteEdition
304

200
224
254

125
410

019
201
418
447
018

249
344

228
334

607
408

113
711

110
155

037
728

7301


CD131
LAFINTASEMPLICEK51
OperabuffainthreeactsLibretto:CarloGoldoni&MarcoColtellini
ACT2
Scena1
1Recitativo(Ninetta/Simone)
2Aria(Ninetta)

Scena2
3Recitativo(Simone/Giacinta)
4Aria(Simone)

Scena3
5Recitativo(Giacinta/Polidoro)
6Aria(Giacinta)

Scena4
7Recitativo(Polidoro/Ninetta)

Scena5
8Aria(Rosina)
9Recitativo(Polidoro/Ninetta/Rosina)

Scena6
10Aria(Cassandro)
11Recitativo(Rosina/Cassandro/Polidoro)
12Aria(Polidoro)

Scena7
13Recitativo(Cassandro/Rosina)
14Aria(Rosina)

Scena8
15Recitativo(Cassandro/Fracasso)
16Duetto(Cassandro/Fracasso)

Scena9
17Recitativo(Rosina/Cassandro)

Scena10
18Recitativo(Rosina/Fracasso)

Scena11
19Aria(Fracasso)

Scena12
20Recitativo(Ninetta/Simone)

Scena13
21Finale(Cassandro/Polidoro/Ninetta/Rosina/Fracasso/Simone)

HelenDonath(Rosina)RobertHoll(DonCassandro)
AnthonyRolfeJohnson(DonPolidoro)TeresaBerganza(Giacinta)
JuttaRenateIhloff(Ninetta)ThomasMoser(Fracasso)RobertLloyd(Simone)
MozarteumOrchesterSalzburg/LeopoldHager

Totaltime

95010MozartCompleteEdition
305

140
243

115
215

233
324

058

400
211

145
208
457

552
457

253
248

021

149

317

032

707

5926


CD132
LAFINTASEMPLICEK51
OperabuffainthreeactsLibretto:CarloGoldoni&MarcoColtellini
ACT3
Scena1
1Aria(Simone)
2Recitativo(Ninetta/Simone)
3Aria(Ninetta)
Scena2
4Aria(Giacinta)
5Recitativo(Fracasso/Giacinta)
6Aria(Fracasso)
Scena3
7Recitativo(Cassandro/Rosina)
Scena4
8Recitativo(Polidoro/Rosina)
9Finale(Polidoro/Rosina/Cassandro)
ScenaUltima(Ninetta/Giacinta/Fracasso/Simone/Cassandro/Polidoro/Rosina)

HelenDonath(Rosina)RobertHoll(DonCassandro)
AnthonyRolfeJohnson(DonPolidoro)TeresaBerganza(Giacinta)
JuttaRenateIhloff(Ninetta)ThomasMoser(Fracasso)RobertLloyd(Simone)
MozarteumOrchesterSalzburg
LeopoldHager

Totaltime

CD133
MITRIDATE,RDIPONTOK87
Operaseriainthreeacts
LibrettobyVittorioAmedeoCignaSantiafterGiuseppeParini'stranslationofJeanRacine'sMithridate
ACT1
1Sinfonia
2Recitativi(Arbate/Sifare/Aspasia)
3Aria:Aldestinchelaminaccia(Aspasia)
4Recitativoaccompagnato(Sifare)
5Aria:Soffreilmiocor(Sifare)
6Aria:Lodionelcorfrenate(Arbate)
7Recitativo(Farnace/Sifare/Aspasia)
8Aria:Nelsenmipalpita(Aspasia)
9Recitativo(Farnace/Sifare)
10Aria:Nelgrancimento(Sifare)
11Recitativo(Farnace/Marzio)
12Aria:Vengapur(Farnace)
13Marcia
14Cavata:Sedilauriilcrineadorno(Mitridate)

MarcelReijanstenor(Mitridate)FrancinevanderHeydensoprano(Aspasia)
MarijjevanStralensoprano(Sifare)JohannetteZomersoprano(Ismene)
CcilevandeSantmezzosoprano(Farnace)YoungHeeKimsoprano(Arbate)
AlexeiGrigorevtenor(Marzio)ErwinWieringasolohorn
MichaelBorgstedeharpsichordFrancPolmanconcertmaster
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
306

226
038
314
243
132
734
209
231
1035

3323

458
503
623
112
802
453
015
222
120
412
108
712
308
413

5421


CD134
MITRIDATE,RDIPONTOK87
Operaseriainthreeacts
LibrettobyVittorioAmedeoCignaSantiafterGiuseppeParini'stranslationofJeanRacine'sMithridate
ACT1continued
1Recitativi(Mitridate/Ismene/Arbate/Sifare/Farnace)
2Aria:Infacciaalloggeto(Ismene)
3Recitativi(Mitridate/Arbate)
4Aria:Quelribelleequellingrato(Mitridate)

ACT2
5Recitativo(Ismene/Farnace)
6Aria:Va,lerrormiopalesa(Farnace)
7Recitativi(Ismene/Mitridate/Aspasia)
8Aria:Tu,chefidelmisei(Mitridate)
9Recitativi(Sifare/Aspasia/Arbate)
10Aria:Lungidate,miobene(Sifare)
11Recitativoaccompagnato(Aspasia)
12Aria:Nelgravetormento(Aspasia)
13Recitativi(Mitridate/Ismene/Arbate/Sifare/Farnace/Marzio)
14Aria:Soquantoatedispiace(Ismene)

MarcelReijanstenor(Mitridate)FrancinevanderHeydensoprano(Aspasia)
MarijjevanStralensoprano(Sifare)JohannetteZomersoprano(Ismene)
CcilevandeSantmezzosoprano(Farnace)YoungHeeKimsoprano(Arbate)
AlexeiGrigorevtenor(Marzio)ErwinWieringasolohorn
MichaelBorgstedeharpsichordFrancPolmanconcertmaster
MusicaadRhenum
JedWentz

Totaltime

95010MozartCompleteEdition
307

329
606
422
307

202
255
337
413
700
742
146
449
446
515

6109


CD135
MITRIDATE,RDIPONTOK87
Operaseriainthreeacts
LibrettobyVittorioAmedeoCignaSantiafterGiuseppeParini'stranslationofJeanRacine'sMithridate
ACT2continued
1Recitativo(Farnace)
2Aria:Sonreo:lerrorconfesso(Farnace)
3Recitativo(Sifare/Mitridate/Aspasia)
4Aria:Gidipietmispoglio(Mitridate)
5Recitativi(Aspasia/Sifare)
6Duetto:Sevivernondeggio(Aspasia/Sifare)

ACT3
7Recitativo(Mitridate/Aspasia/Ismene)
8Aria:Tusaiperchimaccese(Ismene)
9Recitativi(Aspasia/Mitridate/Arbate)
10Aria:Vadoincontroalfatoestremo(Mitridate)
11Recitativo(Aspasia)
12RecitativoaccompagnatoeCavatina:Ahbennefuipresaga!(Aspasia)
13Recitativi(Sifare/Aspasia)
14Aria:Seilrigordingratasorte(Sifare)
15Recitativi(Farnace/Marzio)
16Aria:Sidiregnarseivago(Marzio)
17Recitativoaccompagnato(Farnace)
18Aria:Gidagliacchiilvelotolto(Farnace)
19Recitativi(Mitridate/Sifare/Aspasia/Ismene)
20Coro:NonsicredaalCampidoglio(Aspasia/Sifare/Ismene/Arbate/Farnace)

MarcelReijanstenor(Mitridate)FrancinevanderHeydensoprano(Aspasia)
MarijjevanStralensoprano(Sifare)JohannetteZomersoprano(Ismene)
CcilevandeSantmezzosoprano(Farnace)YoungHeeKimsoprano(Arbate)
AlexeiGrigorevtenor(Marzio)ErwinWieringasolohorn
MichaelBorgstedeharpsichordFrancPolmanconcertmaster
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
308

039
332
404
219
330
638

207
419
242
239
037
632
216
240
237
426
113
706
359
042

6437


CD136
ASCANIOINALBAK111
FestateatraleintwoactsLibrettobyAbbateGiuseppeParini
ACT1
1Sinfonia
2Ballet:Andantegrazioso

Scena1
3CorodiGenieGrazie
4Recitativo:Genie,grazie,edamori(Venere)
5Aria:Lombraderamituoi(Venere)
6Recitativo:MalaNinfagentil(Ascanio/Venere)
7CorodiGenieGrazie

Scena2
8Recitativo:Perchtacerdeggio?(Ascanio)
9Aria:CaralontanoancoracAscaniod444

Scena3
10CorodiPastore
11Recitativo:Maqualcantorisona?(Ascanio/Fauno)
12CorodiPastori
13Recitativo:Matuchisei(Fauno/Ascanio)
14Aria:Seillabbro(Fauno)
15Recitativo:Quantosoavi(Ascanio/Fauno)

Scena4
16CorodiPastoriePastorelle
17Recitativo:OhgenerosaDiva(Aceste)
18CorodiPastori
19Recitativo:DipropriamanlaDea(Aceste)
20CorodiPastori

MaaikeBeekman(Ascanio)ClaudiaPatacca(Venere)
NicolaWemyss(Silvia)TomAllen(Aceste)ClaronMcFadden(Fauno)
VocaalEnsembleCocuMusicaadRhenum
JedWentz

Totaltime

95010MozartCompleteEdition
309

305
059

200
308
508
534
110

423

110
117
109
210
434
202

328
049
110
108
111

5030


CD137
ASCANIOINALBAK111
FestateatraleintwoactsLibrettobyAbbateGiuseppeParini
ACT1continued
1Recitativo:Ohmiagloria(Aceste)
2Aria:Perlagioia(Aceste)
3Recitativo:Misera!chefaro?(Silvia/Aceste)
4Aria:Si,si,madunaltroAmore(Silvia)
5Recitativo:Ahno,Silviatinganni(Aceste/Silvia)
6Aria:Comefelicestato(Silvia)
7Recitativo:Silviamira(Aceste)
8CorodiPastori

Scena5
9Recitativo:Cielo!(Ascanio/Venere)
10Aria:Ahdisnobilalma(Ascanio)
11Recitativo:Unaltraprova(Venere/Ascanio)
12Aria:Alchiaror(Venere)
13CorodiGenieGrazie

ACT2
Scena1
14Recitativo:Starlontana(Silvia)
15Aria:Spiegaildesio(Silvia)
16Corodipastorelle

Scena2
17Recitativo:Cercodiloco(Ascanio)102
18Recitativoaccompagnato:Ohciel!chemiro?(Silvia/Ascanio)

Scena3
19Recitativo:Silvia,ovesei?(Silvia/Ascanio/Fauno)

MaaikeBeekman(Ascanio)ClaudiaPatacca(Venere)
NicolaWemyss(Silvia)TomAllen(Aceste)ClaronMcFadden(Fauno)
VocaalEnsembleCocuMusicaadRhenum
JedWentz

Totaltime

95010MozartCompleteEdition
310

038
528
317
056
348
417
102
109

102
357
147
354
109

131
658
127

313

416

5102


CD138
ASCANIOINALBAK111
FestateatraleintwoactsLibrettobyAbbateGiuseppeParini
ACT2continued
1Aria:Gentilsembiante(Fauno)

Scena4
2Recitativo:Ahim!Cheveggiomai?(Ascanio/Silvia)
3Aria:Almioben(Ascanio)
4Recitativo:Ferma,aspetta,ovevai?(Silvia)
5Aria:Infeliciaffettimiei(Silvia)
6Recitativo&coro(Ascanio/Silvia/Corodipastorelle)

Scena5
7Recitativo:Ahilacrudel(Ascanio)
8Aria:Tornamiobene(Ascanio)

Scena6
9CorodiPastori111
10Recitativo:ChestranacAcested039
11Aria:Sento,cheilcormidice(Aceste)
12Recitativo:Si,padre(Silvia)
13CorodiPastorieNinfeoPastorelle
14Recitativo:Masallontani(Silvia/Aceste/Ascanio)
15CorodiPastoriePastorelle
16Recitativo:Ecco,ingombranlaltare(Aceste)
17Coro
18Recitativo:Invoca,ofiglia(Aceste/Silvia/Ascanio/Venere)
19Terzetto:AhcaroSposo(Silvia/Ascanio/Aceste)
20Recitativo:Eccovialfin(Venere)
21Terzetto:Chebelpiaceriosento(Silvia/Ascanio/Aceste)
22Recitativo:Ahchinodi(Silvia/Ascanio/Aceste/Venere)
23CoroultimodiGeni,Grazie,PastorieNinfe:AlmaDea

MaaikeBeekman(Ascanio)ClaudiaPatacca(Venere)
NicolaWemyss(Silvia)TomAllen(Aceste)ClaronMcFadden(Fauno)
VocaalEnsembleCocuMusicaadRhenum
JedWentz

Totaltime

95010MozartCompleteEdition
311

1052

102
349
312
448
040

054
315

440
027
108
056
107
020
109
108
454
208
130
144
054

5237


CD139
ILSOGNODISCIPIONEK126
AzioneteatraleLibretto:PietroMetastasio
1Sinfonia
2Recitativo:Vieniesieguimieipassi(Fortuna/Costanza/Scipione)
3Aria:Risolvernonosa(Scipione)
4Recitativo:Giustalatuarichiesta(Costanza/Fortuna)
5Aria:Lievesonoalpardelvento(Fortuna)
6Recitativo:Dunqueoveson?(Scipione/Costanza/Fortuna)
7Aria:Cigliochealsolsigira(Costanza)
8Recitativo:Equaleabitatori?(Scipione/Fortuna/Costanza)
9Coro:Germedicentoeroi
10Recitativo:Numi!(Scipione/Publio)
11Aria:Sevuoicheteraccolgano(Publio)
12Recitativo:Sequivivonglieroi(Scipione/Fortuna/Costanza/Publio/Emilio)
13Aria:Volcolaggiuridete(Emilio)

ClaronMcFaddensoprano(Fortuna)ClaudiaPataccasoprano(Costanza)
FranoisSoonstenor(Scipione)TerenceMierautenor(Publio)
MarcelReijanstenor(Emilio)FrancinevanderHeydensoprano(LaLicenza)
CappellaAmsterdamchorusmasterDanielReuss
FrancPolmanconcertmasterMichaelBorgstedeharpsichord
MusicaadRhenum
JedWentz

Totaltime

CD140
ILSOGNODISCIPIONEK126
AzioneteatraleLibretto:PietroMetastasio
1Recitativo:Padre,ahlasciate(Scipione/Fortuna/Costanza/Publio/Emilio)
2Aria:Querciaannosasulertependici(Publio)
3Recitativo:Giacchalvolerdefati(Scipione/Costanza/Fortuna/Publio/Emilio)
4Aria:Achiserenaiomiro(Fortuna)
5Recitativo:Easenormepossanza(Scipione/Costanza)
6Aria:Biancheggiainmarloscolio(Costanza)
7Recitativo:Nonpi(Scipione/Fortuna)
8Aria:Dicheseilarbitradelmondointero(Scipione)
9Recitativoaccompagnato:Evmortal(Fortuna/Scipione)
10Recitativo:NonScipio(LaLicenza)
11Aria:Ah,perchcercardeggio(LaLicenza)
12Coro:Centovolteconpietosembiante

ClaronMcFaddensoprano(Fortuna)ClaudiaPataccasoprano(Costanza)
FranoisSoonstenor(Scipione)TerenceMierautenor(Publio)
MarcelReijanstenor(Emilio)FrancinevanderHeydensoprano(LaLicenza)
CappellaAmsterdamchorusmasterDanielReuss
FrancPolmanconcertmasterMichaelBorgstedeharpsichord
MusicaadRhenum
JedWentz

Totaltime

95010MozartCompleteEdition
312

442
241
710
031
701
252
728
036
242
235
726
352
802

5738

153
306
311
637
235
715
046
652
317
051
334
114

4113


CD141
LUCIOSILLAK135
DrammapermusicainthreeactsLibretto:GiovannideGamerra
Sinfonia
1Moltoallegro
2Andante
3Moltoallegro

ACT1
Scena1
4Recitativo(Cecilio/Cinna)
5Aria(Cinna)

Scena2
6Accompagnato(Cecilio)
7Aria(Cecilio)

Scena3
8Recitativo(Silla/Celia/Aufidio)
9Aria(Celia)

Scena4
10Recitativo(Silla/Aufidio)

Scena5
11Recitativo(Silla/Giunia)
12Aria(Giunia)

Scena6
13Recitativoedaccompagnato(Silla)
14Aria(Silla)

Scena7
15Accompagnato(Cecilio)

Scena8
16Coroa(Giunia)aCoro
17Accompagnato(Giunia)

Scena9
18Accompagnato(Giunia/Cecilio)
19Duetto(Giunia/Cecilio)

AnthonyRolfeJohnson(LucioSilla)LellaCuberli(Giunia)AnnMurray(Cecilio)
BrittMarieAruhn(Cinna)ChristineBarbaux(Celia)AdvanBaasbank(Aufidio)
OrchestreetChoeursduThtreRoyaldelaMonnaie
SylvainCambreling

Totaltime

95010MozartCompleteEdition
313

345
251
130

322
915

155
811

153
330

053

308
615

144
453

422

454
101

055
q707

7132


CD142
LUCIOSILLAK135
DrammapermusicainthreeactsLibretto:GiovannideGamerra
ACT2
Scena1
1Recitativo(Silla/Aufidio)

Scena2
2Recitativo(Celia/Silla)

Scena3
3Recitativoedaccompagnato(Cecilio/Cinna)
4Aria(Cecilio)

Scena4
5Recitativo(Cinna/Celia)

Scena5
6Recitativoedaccompagnato(Cinna/Giunia)
7Aria(Giunia)

Scena6
8Accompagnato(Cinna)
9Aria(Cinna)

Scena7
10Recitativo(Aufidio/Silla)

Scena8
11Recitativo(Giunia/Silla)
12Aria(Silla)

Scena9
13Recitativo(Giunia/Cecilio)
14Accompagnato(Cecilio/Giunia)
15Aria(Cecilio)

Scena10
16Recitativo(Giunia/Celia)
17Aria(Celia)

Scena11
18Accompagnato(Giunia)
19Aria(Giunia)

Scena12
20Coro
21Recitativo(Silla/Giunia/Aufidio)

Scena13&14
22Recitativo(Cecilio/Cinna)
23Terzetto(Cecilio/Giunia/Cinna)

AnthonyRolfeJohnson(LucioSilla)LellaCuberli(Giunia)AnnMurray(Cecilio)
BrittMarieAruhn(Cinna)ChristineBarbaux(Celia)AdvanBaasbank(Aufidio)
OrchestreetChoeursduThtreRoyaldelaMonnaie
SylvainCambreling

Totaltime

95010MozartCompleteEdition
314

208

102

545
236

123

304
831

036
447

145

052
212

335
046
647

126
454

309
414

153
149

208
342

6915


CD143
LUCIOSILLAK135
DrammapermusicainthreeactsLibretto:GiovannideGamerra
ACT3
Scena1
1Recitativo(Cecilia/Celia/Cinna)
2Aria(Celia)

Scena2
3Recitativo(Cecilio/Cinna)
4Aria(Cinna)

Scena3
5Recitativo(Giunia/Cecilio)

Scena4
6Recitativo(Aufidio/Giunia/Cecilio)
7Aria(Cecilio)

Scena5
8Accompagnato(Giunia)
9Aria(Giunia)

Scena6&7
10Recitativo(Cinna/Silla/Celia/Giunia)

Scenaultima
11Recitativo(Giunia/Cinna/Cecilio/Silla)
12Finale

AnthonyRolfeJohnson(LucioSilla)LellaCuberli(Giunia)AnnMurray(Cecilio)
BrittMarieAruhn(Cinna)ChristineBarbaux(Celia)AdvanBaasbank(Aufidio)
OrchestreetChoeursduThtreRoyaldelaMonnaie
SylvainCambreling

Totaltime

95010MozartCompleteEdition
315

147
345

051
441

111

123
405

320
301

212

357
303

3321


CD144
LAFINTAGIARDINIERAK196
Drammagiocosointhreeacts
Sinfonia
1Allegromolto
2Andantegrazioso

ACTI
3Introduzione:Chelietogiorno(Sandrina/Serpetta/Ramiro/IlPodest/Nardo)
4Recitativo:Viva,vivailbuongusto(IlPodest/Ramiro/Serpetta/Nardo/Sandrina)
5Aria:Selaugellinsenfugge(Ramiro)
6Recitativo:PrestoNardo(IlPodest/Serpetta/Nardo/Sandrina)
7Aria:Dentroilmiopettoiosento(IlPodest)
8Recitativo:Vosubitopartire(Sandrina/Nardo/Ramiro)
9Aria:Noidonnepoverine(Sandrina)
10Recitativo:Sareifeliceappieno(Ramiro)
11Recitativo:Questatardanza(Arminda/IlPodest/Serpetta)
12Aria:Chebelt(IlContino)
13Recitativo:Sposa,Arminda,miosole(IlContino/Arminda/IlPodest/Serpetta)
14Aria:Sipromettefacilmente(Arminda)
15Recitativo:Chedite,SignorConte(IlPodest/IlContino/Serpetta)
16Aria:DaSciroccoaTramontana(IlContino)
17Recitativo:Evviva,evvivaiconsoliRomani(IlPodest)
18Recitativo:Inquestacasa(Serpetta)
19Cavatina:Unmarito,ohDio(Serpetta/Nardo)
20Recitativo:Bravo,signorbuffone(Serpetta/Nardo)
21Aria:Appenamivedon(Serpetta)
22Cavatina:Gemelatortorella(Sandrina)

UgoBenelli(IlPodest)JoannaKozlowska(Sandrina)
MarekTorzewski(IlContinoBelfiore)MalvinaMajor(Arminda)
LaniPoulson(Ramiro)ElzbietaSzmytka(Serpetta)RusselSmythe(Nardo)
OrchestreduThtreRoyaldelaMonnaie/SylvainCambreling

Totaltime

95010MozartCompleteEdition
316

213
218

524
230
448
326
554
224
355
014
234
352
421
446
228
408
016
039
244
047
314
427

6724


CD145
LAFINTAGIARDINIERAK196
Drammagiocosointhreeacts
ACT1continued
1Recitativo:Questasarlabellagiardiniera(Arminda/Sandrina/IlContino)
2Finale:Numi!(Sandrina/Arminda/Ramiro/IlContino/IlPodest/Nardo)

ACT2
3Recitativo:Nonfuggirmispietata(Ramiro/Arminda)
4Aria:Vorreipunirtiindegno(Arminda)
5Recitativo:Ahcosteinonedonna(IlContino/Serpetta/Nardo)
6Aria:ConunvezzoallItaliana(Nardo)
7Recitativo:Trovarlamante(Sandrina/IlContino)
8Aria:Carepupille(IlContino)
9Recitativo:VaContedisgraziato(IlPodest/Sandrina)
10Aria:Unavocesentoalcore(Sandrina)
11Recitativo:Ahchesonstatounsciocco!(IlPodest/Arminda/Ramiro)
12Aria:Unadamina,unanipote(IlPodest)
13Recitativo:SappiArminda,benmio(Ramiro/Arminda)
14Aria:Dolcedamorcompagna(Ramiro)
15Recitativo:Crediminipotina(IlPodest/Arminda/Serpetta/IlContino/Sandrina)
16Recitativoedaria:Ahnonpartir(IlContino)
17Recitativo:Ohpoverettome!(Nardo/Ramiro/IlPodest/Serpetta)

UgoBenelli(IlPodest)JoannaKozlowska(Sandrina)
MarekTorzewski(IlContinoBelfiore)MalvinaMajor(Arminda)
LaniPoulson(Ramiro)ElzbietaSzmytka(Serpetta)RusselSmythe(Nardo)
OrchestreduThtreRoyaldelaMonnaie/SylvainCambreling

Totaltime

CD146
LAFINTAGIARDINIERAK196
Drammagiocosointhreeacts
ACT2continued
1Aria:Chivuolgodereilmondo(Serpetta)
2Aria:Crudeli,fermate(Sandrina)
3Cavatina:Ahdalpianto(Sandrina)
4Finale:Fraquestombre(Sandrina/Serpetta/Arminda/Ramiro/IlContino/IlPodest/Nardo)

ACT3
5Recitativo:Sentimi,Nardomio(Serpetta/Nardo)
6Aria:Aforzadimartelli(Nardo)
7Recitativo:Ol,ol(IlContino/Nardo/Sandrina)
8Ariaeduetto:Miratechecontrasto(Nardo/Sandrina/IlContino)
9Recitativo:Masipuodare(IlPodest/Serpetta)
10Aria:Miopadrone,iodirvolevo(IlPodest)
11Recitativo:Ramiro,orsu(Arminda/Ramiro)
12Aria:Vapureadaltriinbraccio(Ramiro)
13Recitativoeduetto:Dovemaison!(Sandrina/IlContino)
14Recitativo:Manipote,miacara(IlPodest/Nardo/Arminda/Ramiro/Serpetta/Sandrina/IlContino)
15Finale:VivapurlaGiardiniera(Sandrina/Serpetta/Arminda/Ramiro/IlContino/IlPodest/Nardo)

UgoBenelli(IlPodest)JoannaKozlowska(Sandrina)
MarekTorzewski(IlContinoBelfiore)MalvinaMajor(Arminda)
LaniPoulson(Ramiro)ElzbietaSzmytka(Serpetta)RusselSmythe(Nardo)
OrchestreduThtreRoyaldelaMonnaie/SylvainCambreling

Totaltime

95010MozartCompleteEdition
317

209
1312

403
349
153
330
214
621
142
437
228
132
044
705
510
719
210

6959

403
404
302
1455

123
311
130
303
138
308
128
303
1236
141
310

6201


CD147
ILRPASTOREK208
SerenataintwoactsLibrettobyPietroMetastasioComposedinSalzburg,1775
1Sinfonia248
ACT1
Scena1
2Intendoamicorio(Aminta)
3Recitativo:BellaElisa?idolmio?(Aminta/Elisa)
4Aria:Allaselva,alprato(Elisa)

Scena2
5Recitativo:Perdonoamici(Aminta/Agenore/Alessandro)
6Aria:Aertranquilloedisereni(Aminta)

Scena3
7Recitativo:OrchediciAlessandro?(Agenore/Alessandro)
8Aria:Sispandealsoleinfaccia(Alessandro)

Scena4
9Recitativo:Agenore?Tarresta(Tamiri/Agenore)
10Aria:Permerispondete(Agenore)

Scena5
11Recitativo:No:voinonsiete,oDei(Tamiri)
12Aria:Ditantesueprocelle(Tamiri)

Scena6
13Recitativo:Ohlietogiorno!(Elisa/Aminta)

Scena7
Recitativo:Dalpifedelvassallo(Agenore/Elisa/Aminta)

Scena8
14Recitativo:Elisa!Aminta!sogno?(Aminta/Elisa)
15Duetto:Vannearegnarbenmio(Elisa/Aminta)

JohannetteZomersoprano(Aminta)FrancinevanderHeydensoprano(Elisa)
MarcelReijanstenor(Agenore)AlexeiGrigorevtenor(Alessandro)
ClaudiaPataccasoprano(Tamiri)MichaelBorgstedeharpsichord
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
318

149
416
559

355
555

110
511

236
327

042
425

348

110

358
535

5540


CD148
ILRPASTOREK208
SerenataintwoactsLibrettobyPietroMetastasioComposedinSalzburg,1775
ACT2
Scena1
1Recitativo:Questadelcampogrecolatendamaggior(Elisa/Agenore)
2Aria:Barbaro!ohDiomivedi(Elisa)

Scena2
3Recitativo:NelgrancordAlessandro(Agenore/Aminta)
Scena3
Recitativo:PerqualragionerestailrediSidone(Alessandro/Aminta)
Scena4
Recitativo:OrperlamiaTamiritempodiparlar(Agenore/Alessandro)
4Aria:Sevincendovirendofelici(Alessandro)

5Scena5:Recitativo:Oim!declinailsol(Aminta)
Scena6
Recitativo:Eirresolutoancora(Agenore/Aminta)
6Rondeaux:Lamer,sarcostante(Aminta)

Scena7&8
7Recitativo:Uscite,alfineuscite(Agenore/Elisa)
Scena9
Recitativo:Poveraninfa!(Agenore/Tamiri)
8Aria:Setudimefaidono(Tamiri)

Scena10
9Recitativo:Miserocor!(Agenore)
10Aria:Solpuodircomesitrova(Agenore)

Scena11a13
11Aria:Voichefaustiognordonate(Alessandro)
12Recitativo:Ol!chepisitarda?x(Alessandro/Tamiri/Agenore/Elisa/Aminta)
13Coro:Vivalinvitoduce(Elisa/Tamiri/Aminta/Agenore/Alessandro)

JohannetteZomersoprano(Aminta)FrancinevanderHeydensoprano(Elisa)
MarcelReijanstenor(Agenore)AlexeiGrigorevtenor(Alessandro)
ClaudiaPataccasoprano(Tamiri)MichaelBorgstedeharpsichord
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
319

236
534

857

646
217

620

329

528

021
306

430
430
541

5919


CD149
ZAIDEK344
DeutschesSingspielintwoactsLibretto:JohannAndreasSchachtner
ZAIDE
ACT1
1No.1Coro:Brder,latunslustigsein
2Text1
3No.2Melologo:UnerforschligeFgung(Gomatz)
4Text2
5No.3Aria:Ruhesanft,meinholdesLeben(Zaide)
6Text3
7No.4Aria:Rase,Schiksal,wteimmer(Gomatz)
8Text4
9No.5Duetto:MeineSeelehpftvorFreuden(Zaide/Gomatz)
10Text5

ACT2
11No.6Aria:HerrundFreund!(Gomatz)
12Text6
13No.7Aria:Nurmutig,meinHerze(Allazim)
14Text7
15No.8Terzetto:OseligeWonne!(Zaide/Gomatz/Allazim)

SandrinePiausoprano(Zaide)MaxCiolektenor(Gomatz)KlausMertensbass(Allazim)
PaulAgnewtenor(SultanSoliman)KlausMertensbass(Osmin)
GregorFrenkelFrank(Narrator)
RadioKamerorkest/TonKoopman

Totaltime

CD150
ZAIDEK344
DeutschesSingspielintwoactsLibretto:JohannAndreasSchachtner
ACT2continued
1Text8
2No.9Melologo&Aria(Soliman)
3Text9
4No.10Aria:WerhungrigbeiderTafelsitzt(Osmin)
5Text10
6No.11Aria:Ichbinsobsalsgut(Soliman)
7Text11
8No.12Aria:TrostlosschluchzetPhilomele(Zaide)
9Text12
10No.13Aria:Tiger!wetzenurdieKlauen(Zaide)
11Text13
12No.14Aria:IhrMchtigensehtungerhrt(Allazim)
13Text14
14No.15Quartetto:Freundin!stilledeineTrnen(Gomatz/Allazim/Zaide/Soliman)
15Marsch

SandrinePiausoprano(Zaide)MaxCiolektenor(Gomatz)KlausMertensbass(Allazim)
PaulAgnewtenor(SultanSoliman)KlausMertensbass(Osmin)
GregorFrenkelFrank(Narrator)
RadioKamerorkest
TonKoopman

Totaltime:

95010MozartCompleteEdition
320

058
055
600
145
628
030
342
134
224
100

347
027
346
020
627

4009

027
809
023
347
049
541
033
731
040
421
028
452
156
637
341

5011


CD151
THAMOS,KNIGINGYPTENK345c336Ad
ChreundZwischenaktmusikenzudemheroischenDramavonTobiasPhilippFreiherrvonGebler
ACT1
1Chorus,Soli:Schonweichetdir,Sonne
2Entractemusic:MaestosoaAllegro
ACT2
3Entractemusic:Andante
ACT3
4Entractemusic:Allegro
ACT4
5Entractemusic:Allegrovivaceassai
ACT5
6Chorus,Soli:Gottheit,berallemchtig!
7Chorus:IhrKinderdesStaubes,erzittertundbebet

CharlotteLehmannsoprano
RoseScheiblealto
OlyPfafftenorBruceAbelbass
WrttenbergischesKammerchor
undOrchester
JrgFaerber

BALLETMUSICLESPETITSRIENSK299B
8Ouverture
9Andantino
10Allegro
11Larghetto
12Gavotte
13Gavottegracieuse
14Pantomime
15Gavotte

IDOMENEOK366
16Chaconne
17Passeul
18Passepied
19Gavotte
20Passacaille

SlovakSinfonietta
TarasKrysa

Totaltime

95010MozartCompleteEdition
321

651
511
447
341
334
937
715

312
049
010
126
117
046
208
347

853
354
256
224
540

7823


CD152
IDOMENEOK366
OperaseriainthreeactsLibretto:AbbateGiambattistaVaresco
1Sinfonia
ACT1
2Recitativo:Quandoavranfineomai(Ilia)
3Aria:Padre,germani,addio!(Ilia)
4Recitativo:RadunateiTroiani(Idamante/Ilia)
5Aria:Nonhocolpa(Idamante)
6Recitativo:Eccoilmisero(Ilia/Idamante)
7Coro:Godiamlapace
8Recitativo:Prence,signor(Idamante/Arbace/Ilia)
9Recitativo:EstintoIdomeneo?(Elettra)
10Aria:Tuttenelcorvisento(Elettra)
11Coro:Piet!Numi,piet!
12Recitativo:Eccocisalvialfin(Idomeneo)
13Aria:Vedrommiintorno(Idomeneo)Recitativo:Cieli!cheveggo!(Idomeneo/Idamante)
14Recitativo:Spiaggeromite(Idamante)
15Recitativo:Ahqualgelidoorror
16Aria:Ilpadreadorato(Idamante)
17Marcia
18Coro:Nettunosonori!

ACT2
19Recitativo:Siamsoli,odimiArbace(Idomeneo/Arbace)
20Recitativo:Semaipomposo(Ilia/Idomeneo)
21Aria:Seilpadreperdei(Ilia)
22Recitativo:Qualmiconturbaisensi
23Aria:Fuordelmar(Idomeneo)
24Recitativo:Chimaidelmio(Elettra)
25Aria:Idolmio,seritroso(Elettra)
26Marcia

RichardLewis(Idomeneo,KingofCrete)LopoldSimoneau(Idamante,hisson)
SenaJurinac(Ilia,daughterofPriam)LucilleUdovick(Elettra,daughterofAgamemnon)
JamesMilligan(Arbace,confidantoftheKing)WilliamMcAlpine(GranSacerdote)
HerveyAlan(LaVoce)
GlyndebourneFestivalChorusandOrchestra/SirJohnPritchard

Totaltime

95010MozartCompleteEdition
322

421
345
357
202
413
053
222
205
143
343
116
226
443
322
051
256
106
329

200
135
601
153
415
125
415
107

7157


CD153
IDOMENEOK366
OperaseriainthreeactsLibretto:AbbateGiambattistaVaresco
CT2continued
1Recitativo:Sidoniesponde(Elettra)
2Coro:Placidoilmar(Coro/Elettra)
3Recitativo:Parti,Idamante(Idomeneo/Idamante)
4Terzetto:Priadipartir,oDio!(Idamante/Elettra/Idomeneo)
5Coro:Qualnuovoterrore!
6Recitativo:Eccotiinme,barbaroNume!(Idomeneo)
7Coro:Corriamo,fuggiamo

ACT3
8Aria:Zeffirettilusinghieri(Ilia)
9Recitativo:Principessa,atuoisguardi
10Duetto:Spiegartinonpossio(Ilia/Idamante)
11Recitativo:Cieli!chevedo?(Idomeneo/Ilia/Idamante/Elettra)
12Quartetto:Andrramingoesolo
13Recitativo:VolgiintornolosguardoNonpi!(GranSacerdote/Idomeneo)
14Coro:O,ovototremendo!(Coro)
15Marcia
16Recitativo:Accogli,oredelmar(Idomeneo/GranSacerdoteeSacerdoti)
17Coro:Stupendavittoria!Recitativo:Sire!ilprence(Arbace)
18Recitativo:Padre,miocaropadre!
19Aria:No,lamorte(Idamante/Idomeneo)
20Recitativo:Ferma,oSire,chefai?(Ilia/Idomeneo/Idamante/GranSacerdote/Elettra/LaVoce/Arbace)
21Recitativo:Ohsmania!(Elettra)
22Aria:D'Oreste,d'Aiace(Elettra)
23Recitativo:Popoli!(Idomeneo)
24Aria:Tornalapacealcore(Idomeneo)
25Coro:ScendaAmor,scendaImeneo(Coro)

RichardLewis(Idomeneo,KingofCrete)LopoldSimoneau(Idamante,hisson)
SenaJurinac(Ilia,daughterofPriam)LucilleUdovick(Elettra,daughterofAgamemnon)
JamesMilligan(Arbace,confidantoftheKing)WilliamMcAlpine(GranSacerdote)
HerveyAlan(LaVoce)
GlyndebourneFestivalChorusandOrchestra/SirJohnPritchard

Totaltime

95010MozartCompleteEdition
323

037
417
034
410
123
144
150

540
309
306
131
530
341
452
108
352
046
347
421
236
056
153
332
319
237

7120


CD154
DIEENTFHRUNGAUSDEMSERAILK384
SingspielinthreeactsLibretto:J.GottliebStephanieJr.,afterBelmonteundKonstanzeofC.F.Bretzner
1Overture

ACT1
2Aria:Hiersollichdichdennsehen(Belmonte)
3SongaDuet:WereinLiebchenhatgefunden(Osmin/Belmonte)
4Nun,wiestehts,Osmin?(Pedrillo/Osmin)
5Aria:SolchehergelaufneLaffen(Osmin)
6WasbistdufreingrausamerKerl(Pedrillo/Osmin)
7Gehnur,verwunschterAufpasser(Pedrillo/Belmonte)
8RecitativeandAria:Konstanze!dichwiederzusehen,dich!(Belmonte)
9Chorus:SingtdemGroenBassaLieder
10Immernochtraurig,geliebteKonstanze?(Selim/Konstanze)
11Aria:Achichliebte,warsoglcklich(Konstanze)
12IhrSchmerz,ihreTrnen(Selim/Pedrillo/Belmonte/Osmin)
13Trio:Marsch!Marsch!Marsch!trollteuchfort!(Osmin/Belmonte/Pedrillo)

ACT2
14GiftundDolch(Osmin/Blonde)
15Aria:DurchZartlichkeitundSchmeicheln(Blonde)
16Zartlichkeit?Schmeicheln?(Osmin/Blonde)
17Duet:Ichgehe,dochrateichdir(Osmin/Blonde)
18RecitativeandAria:WelcherKummerherrschtinmeinerSeele(Konstanze)

JuttaVulpius(Konstanze)RolfApreck(Belmonte)RosemarieRonisch(Blonde)
ArnoldvanMill(Osmin)JurgenForster(Pedrillo)HansKiessler(Selim)
KlausPiontek,WaltrautHaschke,KatjaKuhl,WilfriedWeschke,FritzDiez(Narrators)
DresdenStateOperaChoruschorusmastersErnstHintze,GerhartWstner
DresdenStaatskapelle/OtmarSuitner

Totaltime

95010MozartCompleteEdition
324

422

300
649
543
433
036
120
535
139
048
522
127
346

030
330
104
353
829

5547


CD155
DIEENTFHRUNGAUSDEMSERAILK384
SingspielinthreeactsLibretto:J.GottliebStephanieJr.,afterBelmonteundKonstanzeofC.F.Bretzner
ACT2continued
1Nun,Konstanze(Selim/Konstanze)
2Aria:MarternallerArten(Konstanze)
3Pst!Pst!Blondchen!(Pedrillo/Blonde)
4Aria:WelcheWonne,welcheLust(Blonde/Pedrillo)
5Aria:FrischzumKampfe!(Pedrillo)
6Ha!Gehtshiersolustigzu?(Osmin/Pedrillo)
7Duet:Danimm!aVivatBacchus!(Pedrillo/Osmin)
8Dasistwahr(Osmin/Pedrillo)
9GiftundDolch!(Pedrillo/Belmonte/Konstanze)
10Aria:WennderFreudeTrnenfliessen(Belmonte)
11Quartet:AchBelmonte!ach,meinLeben!(Konstanze/Belmonte/Blonde/Pedrillo)

ACT3
12Pedrillo!Solasssieunsbefreien(Belmonte/Pedrillo)
13Romance:InMohrenlandgefangenwar(Pedrillo/Belmonte)
14Belmonte!Konstanze!(Konstanze/Belmonte/Pedrillo/Osmin/Blonde)
15Aria:O,wiewillichtriumphieren(Osmin)
16Wasgibt's,Osmin?(Selim/Osmin/Konstanze/Belmonte)
17RecitativeandDuet:WelcheinGeschick!oQualderSeele!(Belmonte/Konstanze)
18Nun,zitterstdu?(Selim/Belmonte/Konstanze/Pedrillo/Osmin)
19Finale,ChorusoftheJanissaries:Niewerd'ichdeineHuldverkennen
(Belmonte/Konstanze/Pedrillo/Blonde/Osmin/Chorus)

JuttaVulpius(Konstanze)RolfApreck(Belmonte)RosemarieRonisch(Blonde)
ArnoldvanMill(Osmin)JurgenForster(Pedrillo)HansKiessler(Selim)
KlausPiontek,WaltrautHaschke,KatjaKuhl,WilfriedWeschke,FritzDiez(Narrators)
DresdenStateOperaChoruschorusmastersErnstHintze,GerhartWstner
DresdenStaatskapelle/OtmarSuitner

Totaltime

95010MozartCompleteEdition
325

033
835
043
254
311
104
224
130
048
438
1200

012
240
043
327
149
821
155
542

6317


CD156
DERSCHAUSPIELDIREKTORK486
SingspielinoneactLibretto:J.GottliebStephanieJr.
1Overture:Presto505
2Scene1:Lustig,HerrDirekteur,wirhabenPermission
3Scene2:IhrDiener,lieberFrank
4Scene3:Wie,HerrFrank?
5Scene4:MadameKrone!
6Scene5:Michfreutesrechtsehr,Siekennenzulernen
7Scene6:Ah!MadameVogelsang!
8Scene7
9Arietta:DaschlgtdieAbschiedsstunde
10Scenes7a8:Gttlich!Unvergleichlich!
11Recitative
12Rondo:BesterJngling!Mitentzcken
13Scenes8a9:Bravo!Bravo!
14Recitative
15Terzetto:IchbindieersteSngerin
16Scenes9a10:EslebedieEinigkeit
17Finale:JederKnstlerstrebtnachEhre

Singingroles:
CatrionaSmithsoprano(MadameHerz)AntoniaBourvsoprano(MademoiselleSilberklang)
DanielSanstenor(MonsieurVogelsang)FlorianPreybaritone(Buff)
Speakingroles:
MathieuCarriere(Frank)DieterLaser(Eiler)GntherKaufmann(Buff)
GerdAndresen(Herz)DanielaZiegler(MadamePfeil)
ChristineKaufmann(MadameKrone)DoretteHugo(MadameVogelsang)
SimoneLehde(MadameHerz)RuthKppler(MademoiselleSilberklang)
EuropeanChamberSoloists
NicolMatt

Totaltime

CD157
LENOZZEDIFIGAROK492
OperabuffainfouractsLibretto:LorenzodaPonte
1Overture

ACT1
2Duet:Cinquedieciventitrenta(Figaro/Susanna)
3Duet:Seacasomadama(Figaro/Susanna)
4Cavatina:Sevuolballare(Figaro)
5Aria:Lavendetta,oh,lavendetta(Bartolo)
6Duet:Viarestiservita(Marcellina/Susanna)
7Aria:Nonsopiucosanon,cosafaccio(Cherubino)
8Terzet:Cosasento!tostoandante(Count/Basilio/Susanna)
9Chorus:Giovaniliete
10Aria:Nonpiandrai,farfalloneamoroso(Figaro)
Therecitativesaretrackedattheendofeachmusicalnumber

HuubClaessens(IlContediAlmaviva)PatriziaBiccire(LaContessa)
WernervanMechelen(Figaro)ChristianeOelze(Susanna)
MonikaGroop(Cherubino)BatriceCramoix(Marzellina)
HarryvanderKamp(Bartolo)YvesSaelens(Basilio)MarieKuijken(Barbarina)
PhilipDefrancq(DonCurzio)JeanGuyDevienne(Antonio)
ChoeurdeChambredeNamurLaPetiteBande
SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
326

526
251
1258
245
1312
1000
014
413
037
023
254
019
039
603
056
446

7407

428

335
506
344
359
417
622
619
508
420

4721


CD158
LENOZZEDIFIGAROK492
OperabuffainfouractsLibretto:LorenzodaPonte
ACT2
1Cavatina:Porgiamor(Figaro)
2Canzona:Voichesapete(Cherubino)
3Aria:Venite,inginocchiatevi(Susanna)
4Recitative:Chenovita!(Count/Countess)
5Terzet:Susanna,orvia,sortite(Count/Countess/Susanna)
6Duet:Aprite,presto,aprite(Susanna/Cherubino)
7Finale:Esci,ormai,garzonmalnato(Count/Countess/Susanna)
8Signori,difuori(Figaro/Count/Susanna/Countess)
9Ah,signor,signor!(Antonio/Count/Susanna/Countess/Figaro)
10Voisignor,chegiustosiete(Marcellina/Basilio/Bartolo/Susanna/Countess/Figaro/Count)

ACT3
11Recitative:Cheimbarazzomaiquesto(Count/Countess/Susanna)
12Duet:Crudel!perchfinora(Count/Susanna)
13Recitative&Aria:Haigiafintalacausa!Vedr,mentriosospiri(Count)
14Recitative&Aria:ESusannanonvien!Dovesono(Countess)
15Recit.:Riconosciinquestoamplesso
Therecitativesaretrackedattheendofeachmusicalnumber

HuubClaessens(IlContediAlmaviva)PatriziaBiccire(LaContessa)
WernervanMechelen(Figaro)ChristianeOelze(Susanna)
MonikaGroop(Cherubino)BatriceCramoix(Marzellina)
HarryvanderKamp(Bartolo)YvesSaelens(Basilio)MarieKuijken(Barbarina)
PhilipDefrancq(DonCurzio)JeanGuyDevienne(Antonio)
ChoeurdeChambredeNamurLaPetiteBande/SigiswaldKuijken

Totaltime

CD159
LENOZZEDIFIGAROK492
OperabuffainfouractsLibretto:LorenzodaPonte
ACT3continued
1Recitative:Iovidico,signor(Antonio/Count)
2CanzonettasullariaChesoavezeffiretto(Susanna/Countess)
3Chorus:Ricevete,opadroncina
4Finale:Eccolamarcia(Figaro/Susanna/Count/Countess)

ACT4
5Cavatina:Lhoperduta,memeschina!(Barbarina)
6Aria:Ilcaproelacapretta(Marcellina)
7Cavatina:Inqueglianni(Basilio)
8Recitative&Aria:TuttodispostoApriteunpo(Figaro)
9Recitative&Aria:GiunsealfinilmomentoDehvieni(Susanna)
10Finale:Pianpianinleandropipresso(Cherubino/Countess/Count/Susanna/Figaro)
11Cavatina:Gente,gente,allarmi,allarmi(Tutti)
Therecitativesaretrackedattheendofeach
musicalnumberexceptwhereotherwisestated

HuubClaessens(IlContediAlmaviva)PatriziaBiccire(LaContessa)
WernervanMechelen(Figaro)ChristianeOelze(Susanna)
MonikaGroop(Cherubino)BatriceCramoix(Marzellina)
HarryvanderKamp(Bartolo)YvesSaelens(Basilio)MarieKuijken(Barbarina)
PhilipDefrancq(DonCurzio)JeanGuyDevienne(Antonio)
ChoeurdeChambredeNamurLaPetiteBande
SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
327

835
346
554
117
417
244
808
311
525
439

235
317
545
815
525

7321

057
237
416
701

412
548
351
445
512
1146
442

5512


CD160
DONGIOVANNIK527DrammagiocosointwoactsLibretto:LorenzodaPonte
1Sinfonia
ACT1
2Notteegiornofaticar(Leporello)
3Recitativo:Leporello,ovesei(DonGiovanni/Leporello)
4Recitativoaccompagnatoeduetto:Maqualmaisoffre,ohDei(Anna/Ottavio)
5Scene:Fuggi,crudele,fuggi!(Anna/Ottavio)
6Recitativo:Orsu,spicciatipresto(DonGiovanni/Leporello)
7Aria:Ah,chimidicemai(Elvira)
8Recitativo:Chila?(Elvira/DonGiovanni/Leporello)
9Aria:Madamina(Leporello)
10Inquestaformadunque(Elvira)
11Scene,Coro:Giovinettechefateallamore(Zerlina/Coro)
12Recitativo:Mancomalepartita(DonGiovanni/Leporello/Zerlina)
13Aria:Hocapito,signors(Masetto)
14Recitativo:Alfinsiamliberati(DonGiovanni/Zerlina)
15Duettino:Lcidaremlamano(DonGiovanni/Zerlina)
16Recitativo:Fermatiscellerato(Elvira/Zerlina/DonGiovanni)
17Aria:Ahfuggiiltraditor(Elvira)
18Recitativo:Miparchoggiil(DonGiovanni/Ottavio/Anna)
19Quartetto:Nontifidar(Elvira/Anna/Ottavio/DonGiovanni)
20Recitativo:Poveresventurata!(DonGiovanni)
21Recitativoaccompagnatoedaria:DonOttavio,sonmorta!(Anna/Ottavio)
22Aria:Orsaichilonore(Anna)
23Recitativo:Comemaicrederdeggio(DonGiovanni)
24Recitativo:Iodeggioadognipatto(Leporello/DonGiovanni)
25Aria:Finchhandalvino(DonGiovanni)
26Recitativo:Masettosentiunpo!(Zerlina/Masetto)
27Aria:Batti,batti(Zerlina)

WernervanMechelen(DonGiovanni)HuubClaessens(Leporello)ElenaVink(DonnaAnna)
MarkusSchfer(DonOttavio)NancyArgenta(Zerlina)NancydeVries(Masetto)
ChristinaHgman(DonnaElvira)HarryvanderKamp(IlCommendatore)
CollegiumCompostellanumLaPetiteBande/SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
328

610
458
043
237
346
138
320
241
547
034
130
211
129
152
257
041
110
104
339
019
250
226
036
149
129
109
325

6302


CD161
DONGIOVANNIK527
DrammagiocosointwoactsLibretto:LorenzodaPonte
ACT1continued
1Recitativo:Guardaonpocomeseppe(Masetto/DonGiovanni/Zerlina)
2Finale:Presto,presto(Masetto/Zerlina)
3Proteggailgiustocielo(Anna/Ottavio)
4Riposate,vezzioragazze(DonGiovanni/Leporello/Masetto/Zerlina)
5Venite,puravanti(Tutti)

ACT2
6Duetto:Ehvia,buffone,nonmiseccar(DonGiovanni/Leporello)
7Recitativo:Leporello!(DonGiovanni/Leporello)
8Terzetto:Ahtaci,ingiustocore(Elvira/Leporello/DonGiovanni)
9Recitativo:Amico,chetipar?(DonGiovanni/Leporello)
10Deh,vieniallafenestra(DonGiovanni)
11Recitativo:Vgenteallafinestra!(DonGiovanni/Masetto)
12Aria:Metdivoi(DonGiovanni)
13Scene:Zitto!lascia(DonGiovanni)
14Recitativo:Ahi!Ahi!(Masetto/Zerlina)
15Aria:Vedrai,carino(Zerlina)
16Recitativo:Dimolteface(Leporello/Elvira)
17Sestetto:Sola,solainbuioloco(Elvira/Leporello/Ottavio/Anna)
18Quintetto:Milletorbidipensieri(Elvira/Anna/Leporello/Masetto/Ottavio)
19Recitativo:Dunquequelloseitu(Zerlina/Elvira/Ottavio/Masetto)
20Aria:Ah,piet,signoremiei!(Leporello)
21Recitativo:Ferma,perfido,ferma!(Elvira/Masetto/Zerlina/Ottavio)
22Aria:Ilmiotesorointanto(Ottavio)
23Recitativo:Ah,ah,ah,questabuona(DonGiovanni/Leporello)
24Duetto:Ostatuagentillissima(Leporello/DonGiovanni)
25Calmatevi,idolmio(Ottavio/Anna)
26Crudele!Ahno,miobene!(Anna)
27Nonmidir,bellidolmio(Anna)
28Ah,siseguailsuopasso(Ottavio)

WernervanMechelen(DonGiovanni)HuubClaessens(Leporello)ElenaVink(DonnaAnna)
MarkusSchfer(DonOttavio)NancyArgenta(Zerlina)NancydeVries(Masetto)
ChristinaHgman(DonnaElvira)HarryvanderKamp(IlCommendatore)
CollegiumCompostellanumLaPetiteBande/SigiswaldKuijken

Totaltime

CD162
DONGIOVANNIK527
DrammagiocosointwoactsLibretto:LorenzodaPonte
Finale
1Gilamensapreparata(DonGiovanni/Leporello/Elvira)
2Scene:DonGiovanni,acenarteco(IlCommendatore/DonGiovanni/Leporello)
3Scene:Ah,dovilperfido?(Anna/Elvira/Zerlina/Ottavio/Masetto/Leporello)

WernervanMechelen(DonGiovanni)HuubClaessens(Leporello)
ElenaVink(DonnaAnna)MarkusSchfer(DonOttavio)
NancyArgenta(Zerlina)NancydeVries(Masetto)
ChristinaHgman(DonnaElvira)HarryvanderKamp(IlCommendatore)
CollegiumCompostellanumLaPetiteBande
SigiswaldKuijken

Totaltime:2133

95010MozartCompleteEdition
329

039
636
123
124
752

110
156
443
206
201
110
246
040
122
303
027
432
225
026
145
046
419
409
349
045
115
352
025

6800

816
650
626


CD163
COSFANTUTTEK588
DrammagiocosointwoactsLibretto:LorenzodaPonte
1Sinfonia444
ACT1
2Terzetto:LamiaDorabellaRecitativo:Fuorlaspada!
258
3Terzetto:ElafededellefemmineRecitativo:Scioccheriedipoeti!
241
4Terzetto:Unabellaserenata(Ferrando/Guglielmo/DonAlfonso)
220
5Duetto:Ah,guarda(Fiordiligi/Dorabella)Recitativo:Mipar,chestammatina(Fiordiligi/Dorabella/DonAlfonso)546
6Aria:Vorreidir(DonAlfonso)Recitativo:Stelle!Percarit,signorAlfonso(Fiordiligi/DonAlfonso/Dorabella) 142
7Quintetto:Sento,oDio,chequestopiedeeRecitativo:Nonpiangere,idolmio!
(Ferrando/Guglielmo/DonAlfonso/Fiordiligi/Dorabella)
448
8Duettino:Alfattodanlegge(Ferrando/Guglielmo)
Recitativo:Lacomediagraziosa(DonAlfonso/Ferrando/Fiordiligi/Dorabella)
152
9Coro:BellavitamilitarRecitativo:Nonvpiutempo,amici
207
10Quintetto:Discrivermiognigiorno(Alfonso/Ferrando/Fiordiligi/Guglielmo/Dorabella)
337
Coro:BellavitamilitareRecit.:Doveson
504
11Terzettino:Soavesiailvento(Dorabella/DonAlfonso/Fiordiligi)
Recitativo:Nonsoncattivocomico(DonAlfonso)
Recitativo:Chevitamaledetta(Despina/Fiordiligi/Dorabella)
12Recit.:Ah!scostati!eAria:Smanieimplacabili(Dorabella)
Recitativo:SignoraDorabella(Despina/Dorabella/Fiordiligi)
437
13Aria:Inuomini(Despina)Recitativo:Chesilenzio!(DonAlfonso/Despina)
543
14Sestetto:AllabellaDespinetta(Tutti)Recitativo:Chesussurro!Chestrepito
637
15Recitativo:Temerari!SortitefuoriAria:Comescoglio(Fiordiligi)Recitativo:Ah,nonpartite!
624
(Ferrando/Guglielmo/Alfonso/Dorabella/Fiordiligi)
16Aria:Nonsiateritrosi(Guglielmo)
137
17Terzetto:Evoiridete?Recitativo:Sipusapereunpoco
154
657
18Aria:Unauraamorosa(Ferrando)Recitativo:Olasariadaridere

SoileIsokoski(Fiordiligi)MonicaGroop(Dorabella)NancyArgenta(Despina)
MarkusSchfer(Ferrando)PerVollestad(Guglielmo)HuubClaessens(DonAlfonso)
LaPetiteBandeOrchestraandChorus/SigiswaldKuijken

Totaltime
7137

95010MozartCompleteEdition
330


CD164
COSFANTUTTEK588
DrammagiocosointwoactsLibretto:LorenzodaPonte
ACT1continued
1Finale:Ah,chetuttainunmomento
2Simora,s,simora
3Eccoviilmedico,signorebelle
4Dammiunbacio,omiotesoro(Tutti)
ACT2
5Recitativo:Andatel,chesietedue(Despina/Fiordiligi/Dorabella)
6Aria:UnadonnaaquindicianniRecitativo:Sorrella,cosadici?(Despina)
7Duetto:Prederquelbrunettino(Fiordiligi/Dorabella)
8Duettoconcoro:Secondate,auretteamicheRecitativo:Iltuttodeponetesopra(Ferrando/Guglielmo)
9Quartetto:Lamanoamedate543
(DonAlfonso/Ferrando/Guglielmo/Despina)
Recitativo:Ohchebellagiornata
(Fiordiligi/Ferrando/Dorabella/Guglielmo)
10Duetto:Ilcorovidono403
(Guglielmo/Dorabella)
11Recitativo:Barbara!Perchfuggi!503
Aria:Ah!Loveggio,quellanimabella
(Ferrando)
12Recitativo:Eiparte,senti,ahno!804
Rondo:Perpiet,benmio,perdona
(Fiordiligi)

SoileIsokoski(Fiordiligi)MonicaGroop(Dorabella)NancyArgenta(Despina)
MarkusSchfer(Ferrando)PerVollestad(Guglielmo)HuubClaessens(DonAlfonso)
LaPetiteBandeOrchestraandChorus
SigiswaldKuijken

Totaltime

CD165
COSFANTUTTEK588
DrammagiocosointwoactsLibretto:LorenzodaPonte
ACT2continued
1Recitativo:Amico,abbiamovinto!(Ferrando/Guglielmo)
2Aria:Donnemie,lafateatanti,atanti(Guglielmo)
3Recitativo:InqualfierocontrastoCavatina:Tradito,schernitodalperfido(Ferrando)
Recitativo:Bravo!questoconstanza!(DonAlfonso/Ferrando/Guglielmo)
Recitativo:Oravedochesiete(Despina/Dorabella/Fiordiligi)
4Aria:Eamoreunladroncello(Dorabella)
Recitativo:Cometuttocongiuraasedurre(Fiordiligi/Guglielmo/Despina/DonAlfonso)
5Duetto:Fragliamplessiinpochiistanti(Fiordiligi/Ferrando)
Recitativo:Ah,poverettome(Guglielmo/DonAlfonso/Ferrando)
6Andante:Tutteaccusanledonne(DonAlfonso/Ferrando/Guglielmo)
Recitativo:Vittoriapadroncini(Despina/Ferrando/Guglielmo/DonAlfonso)
7Finale:Fatepresto,ocariamici(Tutti)
8Benedettiidoppiconiugi
9Eneltuo,nelmiobicchiero(Fiordiligi/Dorabella/Ferrando/Guglielmo)
10Mieisignori,tuttofatto
11Saniesalviagliamplessiamorosi(Tutti)

SoileIsokoski(Fiordiligi)MonicaGroop(Dorabella)NancyArgenta(Despina)
MarkusSchfer(Ferrando)PerVollestad(Guglielmo)HuubClaessens(DonAlfonso)
LaPetiteBandeOrchestraandChorus
SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
331

215
438
649
341
310
511
307
425

5619

406
314
655

555
755
139
141
349
132
319
928

4938


CD166
DIEZAUBERFLTEK620
SingspielintwoactsLibretto:EmanuelSchikaneder
1Ouvertre616
ACT1
2Introduktion:ZuHlfe!ZuHlfe!(Tamino/ThreeLadies)
3Monolog:Wobinich?(Tamino)
4Arie:DerVogelfngerbinich(Papageno)237
5Dialog:Heda!(Tamino/Papageno/ThreeLadies)
6Arie:DiesBildnis(Tamino)
7Dialog:Rstedich(ThreeLadies/Tamino)
8RezitativundArie:Ozittrenicht(QueenoftheNight)
9Monolog:IstsdennauchWirklichkeit(Tamino)
10Quintett:Hm!hm!hm!hm!(Papageno/Tamino/ThreeLadies)
11Dialog:Ha,ha,ha!(Slaves/Monostatos)
12Terzett:DufeinesTubchen(Monostatos/Pamina/Papageno)
13Monolog:Mutter,Mutter(Pamina)Dialog:BinichnichteinNarr(Pamina/Papageno)
14Duett:BeiMnnern(Pamina/Papageno)
15Finale:ZumZielefhrtdichdieseBahn(ThreeBoys/Tamino)
16DieWeisheitslehredieserKnaben(Tamino/FirstPriest)
17Wiestarkistnicht(Tamino)
18SchnelleFsse,rascherMut(Pamina/Papageno/Monostatos/Slaves)
19EslebeSarastro,Sarastrolebe(Chorus/Papageno/Pamina)
20Herr,ichbinzwarVerbrecherin(Pamina/Sarastro)
21NunstolzerJngling,nurhierher!(Monostatos/Pamina/Tamino/All/Sarastro)
22WennTugendundGerechtigkeit(Chorus)

IsoldeSiebert(QueenoftheNight)SuzieLeBlanc(Pamina)ChristophGenz(Tamino)
CorneliusHauptmann(Sarastro)StephanGenz(Papageno)MarieKuijken(Papagena)
PhilipDefrancq(Monostatos)StephanSchreckenberger(Speaker)
IngeVandeKerkhove,PatriziaHardt,PetraNoskaiov(ThreeLadies)
RobinSchlotz,FredericJost,NiklasMallmann(ThreeBoys,SoloistsoftheTlzerKnabenchor)
MarcMauillon,ChristopheEinhorn,StephanSchreckenberger(Priests)
ChristopheEinhorn,StephanSchreckenberger(ArmedMen)
JoachimBrackx,BartMeynckens,ThomasVanlede(Slaves)
ChorusandOrchestraofLaPetiteBande/SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
332

555
015
618
329
150
438
022
550
113
144
500
302
130
657
244
301
133
221
159
116

6951


CD167
DIEZAUBERFLTEK620
SingspielintwoactsLibretto:EmanuelSchikaneder
ACT2
1MarschderPriester
2Dialog:Ihr,indemWeisheitstempel(Sarastro/Priests/Speaker)
3AriemitChor:OIsisundOsiris(Sarastro/Chorus)
4Dialog:EineschrecklicheNacht!(Tamino/Papageno/Speaker/SecondPriest)
5Duett:BewahreteuchvorWeibertcken(Priests)
6Dialog:He,lichterher!(Papageno/Tamino)
7Quintett:Wie?Wie?Wie?(ThreeLadies/Papageno/Tamino)
8Dialog:Heildir,Jngling(Speaker/SecondPriest/Papageno/Monostatos)
9Arie:Allesfhlt(Monostatos)
10Dialog:Zurck!(QueenoftheNight/Pamina/Monostatos)
11Arie:DerHlleRache(QueenoftheNight)
12Monolog:Mordensollich?(Pamina)Dialog:Wollsollichtun?(Pamina/Monostatos/Sarastro)
13Arie:IndiesenheilgenHallen(Sarastro)
14Dialog:Hierseidihreuchbeideallein(Speaker/FirstPriest/Papageno/Tamino/Papagena)
15Terzett:Seidunszumzweitenmalwillkommen(ThreeBoys)
16Dialog:Tamino,wollenwir?(Papageno/Pamina/Tamino)
17Arie:Ach,ichfhls(Pamina)
18Monolog:Nichtwahr,Tamino,ichkannauchschweigen(Papageno)

IsoldeSiebert(QueenoftheNight)SuzieLeBlanc(Pamina)ChristophGenz(Tamino)
CorneliusHauptmann(Sarastro)StephanGenz(Papageno)MarieKuijken(Papagena)
PhilipDefrancq(Monostatos)StephanSchreckenberger(Speaker)
IngeVandeKerkhove,PatriziaHardt,PetraNoskaiov(ThreeLadies)
RobinSchlotz,FredericJost,NiklasMallmann(ThreeBoys,SoloistsoftheTlzerKnabenchor)
MarcMauillon,ChristopheEinhorn,StephanSchreckenberger(Priests)
ChristopheEinhorn,StephanSchreckenberger(ArmedMen)
JoachimBrackx,BartMeynckens,ThomasVanlede(Slaves)
ChorusandOrchestraofLaPetiteBande/SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
333

240
416
230
401
053
020
259
158
119
336
310
217
259
247
148
206
341
108

4432


CD168
DIEZAUBERFLTEK620
SingspielintwoactsLibretto:EmanuelSchikaneder
ACT2continued
1Chor:OIsisundOsiris(ChorusofPriests)
2Dialog:Prinz,deinBetragen(Sarastro/Pamina/Tamino)
3Terzett:Sollichdich,Teuer?(Pamina/Stimme/Tamino)
4Dialog:Tamino!(Papageno/Speaker)
5Arie:EinMdchen(Papageno)
6Dialog:Dabinichschon,meinEngel(Papagena/Papageno/Speaker)
7Finale:Baldprangt,denMorgen(ThreeBoys/Pamina)
8Der,welcherwandertdieseStrae(ArmenMen/Tamino/Pamina)
9WirwandelndurchdesTonesMacht(Pamina/Tamino)
10Triumph!Triumph!DuedlesPaar!(Chorus)
11Papagena!Papagena!Papagena!(Papageno/ThreeBoys)
12PapapapapapaPapagena!(Papageno/Papagena)
13NurStille!stille!stille!stille!(Monostatos/QueenoftheNight/ThreeLadies)
14DieStrahlenderSonne(Sarastro/Chorus)

IsoldeSiebert(QueenoftheNight)SuzieLeBlanc(Pamina)ChristophGenz(Tamino)
CorneliusHauptmann(Sarastro)StephanGenz(Papageno)MarieKuijken(Papagena)
PhilipDefrancq(Monostatos)StephanSchreckenberger(Speaker)
IngeVandeKerkhove,PatriziaHardt,PetraNoskaiov(ThreeLadies)
RobinSchlotz,FredericJost,NiklasMallmann(ThreeBoys,SoloistsoftheTlzerKnabenchor)
MarcMauillon,ChristopheEinhorn,StephanSchreckenberger(Priests)
ChristopheEinhorn,StephanSchreckenberger(ArmedMen)
JoachimBrackx,BartMeynckens,ThomasVanlede(Slaves)
ChorusandOrchestraofLaPetiteBande/SigiswaldKuijken

Totaltime

95010MozartCompleteEdition
334

215
058
250
212
349
200
550
758
213
049
525
220
154
239

4314


CD169
LACLEMENZADITITOK621
OperaseriaintwoactsLibretto:PietroMetastasio
1Sinfonia
ACTI
2Recitativo:Mache?semprelistesso(Vitellia/Sesto)
3Duetto:Cometipiace(Vitellia/Sesto)
4Recitativo:Amico,ilpassoaffretta(Annio/Vitellia/Sesto)
5Aria:Dehsepiacermivuoi(Vitellia)
6Recitativo:Amico,eccoilmomento(Annio/Sesto)
7Duetto:Dehprendi(Sesto/Annio)
8Marcia
9Coro
10Recitativo:Tedella(Publio/Annio/Tito)
11Marcia
12Recitativo:Adesso,ohSesto(Annio/Sesto/Tito)
13Aria:Delpiusublimesoglio(Tito)
14Recitativo:Noncipentiam(Annio/Servilia)
15Duetto:Ahperdona(Servilia/Annio)
16Recitativo:Chemirechiinquelfoglio?(Tito/Publio)
17Aria:Ah,sefosseintorno(Tito)
18Recitativo:Feliceme(Servilia/Vitellia)
19Aria:Parto,matubenmio(Sesto)
20Recitativo:Vedrai,Tito(Vitellia/Publio/Annio)
21Terzetto:Vengoaspettate(Vitellia/Annio/Publio)
22Recitativoaccompagnato:OhDei(Sesto)
23QuintettoconCoro:Deh,conservata,ohDei

AndrPost(TitoVespasiano)ClaudiaPatacca(Vitellia)
FrancinevanderHeyden(Servilia)CcilevandeSant(Sesto)
NicolaWemyss(Annio)MarcPantus(Publio)VocalEnsembleCocu
EricHoeprichbassethorn,bassetclarinetMichaelBorgstedeharpsichord
ValentinadiTarantoItalianandvocalcoachFrancPolmanconcertmaster
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
335

420
338
245
213
529
031
052
150
149
231
102
319
306
147
303
328
206
434
644
053
222
327
616

6815


CD170
LACLEMENZADITITOK621
OperaseriaintwoactsLibretto:PietroMetastasio
ACT2
1Recitativo:Cometucredi(Annio/Sesto)
2Aria:TornadiTitoalato(Annio)
3Recitativo:Partirdeggio,orestar?(Sesto/Vitellia)
4Recitativo:Sesto,chechiedi?(Publio/Sesto/Vitellia)
5Terzetto:Sealvoltomaitisenti(Vitellia/Sesto/Publio)
6Coro:Ahgraziesiredano(Tito/Publio)
7Recitativo:Giadepublici(Publio/Tito)
8Aria:Tardisavede(Publio)
9Recitativo:No,cosiscellerato(Tito/Annio/Publio)
10Aria:Tufostitradito(Annio)
11Recit.accompagnato:Cheorror!(Tito)
12Recitativo:MaPublio(Publio/Tito)
13Terzetto:QuellodiTitoeilvolto(Sesto/Tito/Publio)
14Recitativo:Eppurmifapieta(Tito/Sesto)
15Rondo:Dehperquesto(Sesto)
16Recitativo:Ovesintese(Tito/Publio)
17Aria:Seallimpero(Tito)
18Recitativo:Publio,ascolta(Vitellia/Publio/Annio/Servilia)
19Aria:Saltrochelacrime(Servilia)
20Recit.accompagnato:Eccoilpunto(Vitellia)
21Rondo:Nonpiudifiori(Vitellia)
22Coro:Chedelciel
23Recitativo:Sesto,detuoidelitti(Tito/Annio/Servilia)
24Recitativoaccompagnato:Machegiornoemaiquesto?(Tito)
25Sestettoconcoro:EterniDei,vegliate

AndrPost(TitoVespasiano)ClaudiaPatacca(Vitellia)
FrancinevanderHeyden(Servilia)CcilevandeSant(Sesto)
NicolaWemyss(Annio)MarcPantus(Publio)VocalEnsembleCocu
EricHoeprichbassethorn,bassetclarinetMichaelBorgstedeharpsichord
ValentinadiTarantoItalianandvocalcoachFrancPolmanconcertmaster
MusicaadRhenum/JedWentz

Totaltime

95010MozartCompleteEdition
336

209
239
044
051
500
245
208
128
133
321
251
043
328
519
710
153
514
305
153
214
705
126
235
136
332

7251