By Donald Francis, Sir Tovey
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Additional info for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
Mozart’s letters are full of references to singers, and throughout his career he worked in close collaboration with them. The concert arias, together with the opera arias in their repertory, supplement the documentation we have of various singers’ voices. Although we lack recordings of eighteenth-century singers, such as Aloysia Weber, Mozart’s arias give us detailed vocal portraits of them. paul corneilson P. Corneilson, ‘An Intimate Vocal Portrait of Dorothea Wendling: Mozart’s “Basta vincesti” – “Ah non lasciarmi, no” K.
K539, written for the amateur bass Friedrich Baumann. When Le nozze di Figaro was revived in 1789 with La Ferrarese as Susanna, Mozart took advantage of the occasion to enlarge the part with an elaborate new rond`o, ‘Al desio, di chi t’adora’, K577. This piece seems to be a preparatory study for Fiordiligi’s ‘Per piet`a, ben mio’, a role created by the same soprano (he also supplied a second, more modest aria for Susanna in Act 2, ‘Un moto di gioia’, K579. Also as a prelude to Cos`i fan tutte, Mozart wrote three insertion arias for Louise Villeneuve, the first Dorabella.
Geburtstage, ed. K. Pfarr and W. Ruf (Mainz, 1997), 755–69 J. ’ in C. P. E. Bach Studies, ed. S. Clark (Oxford, 1988), 245–76 C. Wolff, ‘Carl Philipp Emanuel Bach und Wien’, in Carl Philipp Emanuel Bach und die europ¨aische Musikkultur des mittleren 18. Jahrhunderts, ed. H. J. Marx (G¨ottingen, 1990), 119–31 Bach, Johann Christian (b. Leipzig, 5 Sept. 1735; d. London, 1 Jan. 1782). German pianist and composer, resident mainly in London. The youngest son of Johann Sebastian Bach, Johann Christian was the member of the family who most obviously broke away from his Protestant Church background.
A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses by Donald Francis, Sir Tovey