By Leopold Mozart
This is often easily a wonderful booklet! it truly is like having a track lesson from Leopold Mozart. even though i don't play the violin, analyzing and rereading this ebook has performed extra to enhance my classical enjoying (woodwinds) than the other unmarried job (except after all practicing). It additionally offers a fully breathtaking view of Mozart's father's character and musical tastes. this can be a "must" learn for all musicians. I particularly suspect it's the oldest track guideline booklet nonetheless in print!
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Additional resources for A Treatise on the Fundamental Principles of Violin Playing (Oxford Early Music Series)
Paul corneilson P. Corneilson, ‘An Intimate Vocal Portrait of Dorothea Wendling: Mozart’s “Basta vincesti” – “Ah non lasciarmi, no” K. 295a’, Mozart-Jahrbuch 2000, 29–45 A. Einstein, Mozart: His Character, his Works (New York, 1945) D. Heartz, ‘Raaff’s Last Aria: A Mozartean Idyll in the Spirit of Hasse’, Musical Quarterly 60 (1974), 517–43 S. Kunze, ‘Die Vertonungen der Arie “Non so d’onde viene” von J. Chr. Bach und W. A. Mozart’, Anelecta Musicologica 2 (1965), 85–111 Artaria & Comp. Austrian art, map and music publishers.
Such a conception is only broadly related to instrumental sonata form, however; the first paragraph of an aria, for example, might end with an authentic cadence in the tonic and a caesura. The treatment of the sections following the exposition is unpredictable compared to instrumental music, the only standard feature being the re-establishment of the tonic towards the end. The materials of the exposition may be recapitulated in their entirety, in part, 17 aria or not at all. In most cases there is no trace of development proper.
Come, o crudele, D’un misero a piet`a non ti movesti? Qual tigre ti nodri? Dove nascesti? Aria (bars 28–176) Ah, t’invola agl’occhi miei, Alma vile, ingrato cor! La cagione, oh Dio, tu sei Del mio barbaro dolor. Va, crudele! Ca, spietato! Va, tra le fiere ad abitar. Recitativo [obbligato] (bars 177–216) Misera! Invan m’adiro, E nel suo sangue intanto Nuota gi`a l’idol mio . . Con quell’acciaro, Ah Perseo, che facesti? Mi salvasti poc’anzi, or m’uccidesti. Col sangue, ahi, la bell’alma, Ecco, gi`a usci dallo squarciato seno.