UID:
almafu_9961020969802883
Format:
1 online resource (xxi, 242 pages) :
,
digital, PDF file(s).
ISBN:
1-282-62094-0
,
9786612620942
,
1-84615-663-7
Content:
WINNER of the Mozart Society of America 'Marjorie Weston Emerson Award' for 2008 This study proposes a hypothesis to account for some of the opera's long-standing 'problems'. It suggests that Mozart considered the idea that the pairings in Act II should not be crossed: that each of the two disguised officers should seek to seduce his own woman. Although this alternative plot structure was rejected, signs of it may remain in the final score, in the uneasy co-existence of dramatic duplicity and musical sincerity, and in the ending, in which the easy restitution of the original couples seems not to take account of the new passions that have been aroused. Evidence that several of the singers were re-cast is also presented. In addition to these radically new ideas about the conceptual genesis of Cos©Ơ, the book also provides a full account of the work's compositional history, based on early Viennese and Bohemian copies. Four different versions are identified, including a significant revision in which Mozart removed the Act II finale canon. The composer's probable involvement in the 1791 Prague production is also discussed. IAN WOODFIELD is Professor of Historical Musicology, School of Music and Sonic Arts, Queen's University Belfast.
Note:
Title from publisher's bibliographic system (viewed on 10 Mar 2023).
,
FRONTCOVER; CONTENTS; LIST OF ILLUSTRATIONS; LIST OF TABLES; PREFACE; ACKNOWLEDGEMENTS; GLOSSARY; ABBREVIATIONS; PLOT SUMMARY; Introduction; PART I Mozart's Compositional Methods: A Study of the Autograph Score; [ 1 ] The Autograph; Paper Types; Ink Colours and Copying Practices; A Two-stage Genesis?; The Chronology of Composition; [ 2 ] Singers and their Arias; Adriana Ferrarese del Bene's 'Per pietà'; Dorotea Bussani's 'Una donna'; Francesco Benucci's 'Donne mie'; [ 3 ] Refining the Musical Text; The Musical Representation of Drama; Wind Instrumentation; Polishing the Detail
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PART II The 'School for Lovers': An Enigma Revealed?[ 4 ] Casting the Roles; Francesco Benucci: Don Alfonso or Guglielmo?; The Role of Despina; [ 5 ] Lovers Crossed or Uncrossed?; The Departure of the Officers; The Arrival of the Albanians; The Seduction Scenes; The Denouement; PART III Mozart's Revisions for Vienna and Prague; [ 6 ] The Vienna Court Theatre Score; The 'Agreed' Aria and Ensemble Cuts; The 'Agreed' Recitative Cuts; An Early Cut not 'Agreed'; Wind Scores; [ 7 ] Early Manuscript Scores and Parts; Evidence of Chronology; Lines of Transmission; Early Viennese Copies
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[ 8 ] Mozart's Revised Vienna VersionSigns of Mozart's Revised Version in the Autograph; Mozart's Changes to the Act II Finale in the Court Theatre Score; Evidence of Mozart's Revised Version in Other Early Scores; The 1804 Vienna Revival; [ 9 ] Early Italian Language Performances; Domenico Guardasoni's 1791 Prague Production; A Mystery Italian Production; CONCLUSION; APPENDIX; 1 The First Phase of Copying; 2 Hypothetical Recitative Sequences; 3 The Bifoliation Numbers of Act II; 4 The Two Sisters Problem; 5 Page- and Line-break Analysis; 6 Corrections to Guardasoni's 1791 Prague Libretto
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7 Small Musical Changes (and Non-changes) in C18 A Layer of Revisions in V1; NOTES; BIBLIOGRAPHY; INDEX; BACKCOVER
,
English
Additional Edition:
ISBN 1-84383-406-5
Language:
English
DOI:
10.1515/9781846156632
URL:
https://www.cambridge.org/core/product/identifier/9781846156632/type/BOOK
