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19260822
19260822
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19260822

Complete Concert Arias for Bass

Urtext

By Wolfgang Amadeus Mozart

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Voice and piano (bc)
Urtext. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Robert Holl and Franz Beyer. Aria. Edition Breitkopf. The nine surviving bass arias are chiefly works from Mozart's last creative phase, in which the composer offered little tidbits to the opera singers he was friends with. Classical. Piano reduction. Breitkopf and Haertel #EB 8798. Published by Breitkopf and Haertel (BR.EB-8798).

Item Number: BR.EB-8798

ISBN 979-0-004-18316-8. 9 x 12 in inches.

The nine surviving bass arias are chiefly works from Mozart's last creative phase, in which the composer offered little tidbits to the opera singers he was friends with. The edition by Franz Beyer contains all Mozart concert arias for the lowest voice. The nine surviving bass arias are chiefly works from Mozart's last creative phase, in which the composer offered little tidbits to the opera singers he was friends with. Deserving special attention are the arias Per questa bella mano K. 612 (with obbligato double bass) and Manner suchen stets zu naschen K. 433. While editing this aria, Beyer completed the orchestral accompaniment that Mozart had only sketched, which means that this piece is now available for the first time with an orchestral accompaniment in an authentic Mozartian style. Very valuable for performance practice are the cadenzas and Eingange provided by the internationally acclaimed Mozart singer Robert Holl.

Franz Beyer's edition, which incorporates the cadenzas and Eingange (ornamental flourishes) that Robert Holl has already performed in concert, provides extensive information on the performance practice of Mozart's vocal music (including appoggiaturas, recitatives, cadenzas/flourishes, dynamics) and supplies an individual commentary on the contents and historical position of each aria. Moreover, the volume contains a list of instructional methods from Mozart's day (with indications of facsimile reprints or English-language translations) as well as German and English translations of the predominantly Italian aria texts.

In diesem lyrischen Stuck spielen zwei groteske Instrumente ganz schlicht - keine aufgeblasenen Laufe und Sprunge nur sorgfaltig geplante Klange: verliebte Clowns. In diesem Orchesterstuck enthalten die Einzelstimmen nur wenige Noten. In einer der langen Pausen sollen die Spieler sogar bewegungslos wie Statuen verharren: ein gut gefulltes Stillleben.
Ein bestimmtes Prinzip kehrt in verschiedener Beleuchtung zwanghaft wieder. Ein Abschnitt wird leicht variiert wiederholt. Er wird Schritt fur Schritt weicher und dunner wahrend das Schweigen zwischen den Klangen wachst: versteckende Stille. (Martin Smolka 2008) In this lyrical piece the two grotesque instruments play soberly - no puffy runs and jumps just attentively designed sounds: Clowns in love. In this orchestral piece individual parts contain just few notes. During one of the long rests the players are even requested to stay motionless like statues: A crowded still life.
In various shades a certain principal reappears obsessively. A section is repeated in slight variations; step by step it becomes softer and thinner while silences between sounds rise: Silence Hiding. (Martin Smolka 2008).

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