Ah perchè cercar degg io (Aria), No. 11a from Il Sogno di Scipione (Full Score)

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Recitativo "Oh, starem male insieme" Fracasso. Recitativo "Con chi l'ha Don Cassandro? Allegro moderato "Guarda la donna in viso" Fracasso. Andante "Colla bocca, e non col core" Rosina. Recitativo "Sicche m'avete inteso? Recitativo "Oh, la prendo da vero" Cassandro Polidoro. Allegro "Cosa ha mai la donna indosso" Polidoro. Recitativo "Grand'uomo che son io" Cassandro, Rosina. Andante - tempo primo - adagio - tempo primo "Ella vuole ed io torrei" Cassandro. Recitativo "Eh ben, sorella mia? Andante un poco adagio - allegro grazioso - andante unn poco adagio - allegro grazioso "Senti l'eco, ove t'aggiri" Rosina.

Tempo di Minuetto "Chi mi vuol bene" Ninetta. Recitativo "Adesso e fatto tutto" Polidoro. Recitativo "Sono i padroni miei a pranzo ancor" Ninetta, Simone. Allegretto "Un marito, donne care" Ninetta. Recitativo "Eh, quando sia mia sposa" Giacinta, Simone. Allegro "Con certe persone vuol esser bastone" Simone. Allegro comodo "Se a maritarmi arrivo" Giacinta.

Recitativo "Quando avro moglie anch'io" Polidoro, Ninetta. Allegro "Ubriaco non son io" Cassandro.

Recitativo "L'ha coll'anello ancora" Rosina, Cassandro, Polidoro. Adagio - allegretto - moderato - allegretto - moderato "Sposa cara, sposa bella" Polidoro. Recitativo "L'ho fatta grossa assai" Cassandro, Rosina. Recitativo pantomima "Me ne vo' prender spasso" Cassandro, Rosina. Allegro grazioso - allegretto - tempo primo - allegretto "Ho sentito a dir da tutte" Rosina. Recitativo "Dove andate, signore? Recitativo "Siam quasi in porto adesso" Rosina, Fracasso. Un poco adagio "Vieni, vieni, oh mia Ninetta" Simone. Recitativo "Io non ho gran paura" Ninetta, Simone. Tempo di menuetto - allegro - tempo di menuetto - allegro "Sono in amore, voglio marito" Ninetta.

Allegro "Che scompiglio, che flagello" Giacinta. Recitativo "Che smorfie, che paura! Andante maestoso - tempo di menuetto - tempo primo "Nelle guerre d'amore" Fracasso. Recitativo "Eh ben, quando facciamo queste nozze, signora? Allegro non presto - recitativo - in tempo - un poco adagio - allegro - allegro - andantino - allegretto - recitativo - allegro "Nozze, nozze eviva, eviva" Cassandro, Fracasso, Giacinta, Ninetta, Polidoro, Rosina, Simone. Adagio maestoso - andante - allegro - adagio - andante - allegro "Guarda la donna in viso" Fracasso.

Tempo di menuetto - allegretto - tempo primo - allegretto "Sono in amore, voglio marito" Ninetta. Andante maestoso "Nelle guerre d'amore" Fracasso. Andante - allegro da capo "Christe eleison - Kyrie eleison". Allegro "Gloria in excelsis Deo". Adagio - vivace "Gratias agimus tibi". Adagio "Qui tollis peccata mundi". Allegro "Quoniam tu solus". Allegro "Cum sancto Spiritu". Allegro "Credo in unum Deum". Andante "Et incarnatus est". Allegro - adagio - allegro "Et resurrexit". Andante "Et in Spiritum Sanctum".

Allegro - adagio "Et unam sanctam catholicam". Allegro "Et vitam venturi saeculi". Allegro "Pleni sunt coeli". Andante "Agnus Dei qui tollis". Allegro "Dona nobis pacem". Adagio - andante "Kyrie". Poco adagio "Et incarnatus est". Allegro - adagio - allegro - adagio "Et unam sanctam catholicam". Allegro Pleni sunt coeli". Allegro "Hosanna in excelsis". Adagio "Agnus Dei qui tollis". Allegro - adagio "Dona nobis pacem". Allegro "Kyrie eleison - Christe eleison". Allegro moderato "Patrem omnipotentem". Adagio "Et incarnatus est". Allegro moderato "Et resurrexit". Allegro moderato "Et vitam venturi saeculi".

Andante "Dona nobis pacem". Please check if you need the piano version or one of the versions for multiple instruments. The trio from a minuet "for 2 flutes and strings" is not K. The trio referred to by those recordings is an instrumental version of the trio from this minuet, and has its own catalog designation: Minuet for Piano in C major, K. Minuet for Orchestra in C major, K. Cassation for Orchestra in B-flat major, K. Allegro moderato "Gloria in excelsis Deo".

Andante grazioso "Laudamus te". Adagio - allegro "Gratias". Un poco andante "Domine Deus".

Un poco adagio "Qui tollis". Andante ma un poco allegro "Quoniam tu solus". Allegro molto "Patrem omnipotentem". Allegro "Et incarnatus est". Allegro "Pleni sunt caeli". Moderato "Hosanna in excelsis". Allegro moderato "Benedictus qui venit". Allegro moderato "Agnus Dei qui tollis". Aria for Tenor and Orchestra in F major, K.

Aria for Soprano and Orchestra in E-flat major, K. Aria for Soprano and Orchestra in C major, K. Allegro maestoso "Fra cento affanni e cento". Recitative for Soprano and Orchestra in B-flat major, K. Allegro assai - moderato - andante "O temerario Arbace! Andante - allegro - andante - allegro - andante - allegro - andante - allegro - adagio "Misero me!

Aria for Soprano and Orchestra in B-flat major, K. Andante - un poco allegro - adagio "Misero pargoletto". This canon was written for 4 voices, but unless a fifth voice enters in measure 13, certain triadic harmonies are rendered incomplete, thus many recordings are for 5, not 4 voices. Canon for 4 or 5 Voices in 1 in G major, K. Aria for Soprano and Orchestra in F major, K. Andante - tempo primo "Se ardire, e speranza".

Adagio - allegretto - tempo primo "Se tutti i mali miei". Tertia pars si placet": Work is the first and third sections of the Intoitus to the Corpus Christi Fest from "Musica super cantum gregorianum". Fugue for Piano in D major, K. Adagio - allegro moderato "Salus infirmorum".

Moderato "Per quel paterno amplesso".

Track Listings

The final movement of Symphony No. Allegro molto - adagio - allegro molto "Kyrie". Adagio "Verbum caro factum". Allegro molto "Hostia sancta". Adagio - allegro "Tremendum". Un poco adagio "Agnus Dei". Auf die feierliche Johannisloge: The date is nearly unreadable on the manuscript; it may be instead of Quintet for 2 Violins, 2 Violas and Cello No.

Unless your liner specifically identifies that the first or "rejected" version of the minuetto or allegro is being used, use the non-Anhung version above. Zu first version: Adagio - allegro "Kyrie". Allegro con spiritu "Regina angelorum". Allegro - andante - allegro "Dixit Dominus". If you have a recording of K.

Andante maestoso - allego assai. Even if your liner lists only "Trio", the reprise of the Minuetto still is there. Symphony on Serenade No. Symphony for Orchestra in D major, K. Aria for Tenor and Orchestra in D major, K. Andante - allegro assai - tempo primo "Si mostra la sorte". Aria for Bass and Orchestra in D major, K. Aria buffa for Tenor and Orchestra in C major, K.

Allegro assai "Con ossequio, con rispetto". Ridente la calma Librettist: Armida, Aria "Il caro mio bene attendo sospiro" in F major, K. Andantino grazioso - allegro - andantino grazioso - allegro - andantino grazioso - allegro - andantino grazioso - allegro. Most recordings will be of the serenade version above, not the symphony version of the serenade below. If you have a split movement IV, the tempos would split as "Andantino grazioso - allegro - andantino" and "Allegro - andantino - allegro - andantino - allegro".

Andantino grazioso - allegro - andantino - allegro - andantino - allegro - andantino - allegro. Concerto for Violin and Orchestra No. Allegro - andante - allegretto. Aria for Soprano and Orchestra in G major, K. Andantino grazioso - allegro - primo tempo - allegro - primo tempo - allegro "Voi avete un cor fedele". Allegro grazioso - allegro ma non troppo - andante grazioso. Tempo di menuetto - Allegro. Allegretto - adagio - allegro.

Allegro aperto "Panis vivus". Largo "Verbum caro factum". Allegro comodo "Hostia sancta". Andantino - Andante moderato "Agnus dei". This is the Haffner Serenade , not the Haffner Symphony. That work is K. Note, however, if you need the symphony version of the Haffner Serenade, it is in the appendix just below. Please double check as to whether your release uses the K. Allegro maestoso - allegro molto. Even if your liner lists only "Trio", the reprises of the Minuetto still are there. Adagio - Allegro assai. This is not the Haffner Symphony. This is the symphony version of the Haffner Serenade.

Most recordings of the Haffner Serenade also will be the one above, not the one below. Aria for Contralto and Orchestra in F major, K. Andante moderato - allegro assai - andante moderato - allegro assai - andante moderato - allegretto - allegro assai - andante moderato - allegro assai "Io ti lascio, e questo addio".

In tempo comodo d'un gran ciarlone "Clarice cara mia sposa". Concerto for Violin and Orchestra in D major, K. Concerto for Violin and Orchestra in G major, K. Aria for Soprano and Orchestra in C minor, K. Allegro - recitativo - allegro - andante - allegro - adagio - allegro "Ah, t'invola agl'occhi miei". Cavatina for Soprano and Orchestra in C minor, K. Andantino - allegro "Deh, non varcar quell'onda". Aria for Tenor and Orchestra in B-flat major, K. Adagio - allegretto - primo tempo "Se al labbro mio non credi". Recitativo for Soprano and Orchestra in E-flat major, K.

Andantino - allegretto "Basta, vincesti". Andantino espressivo "Ah, non lasciarmi, no". Adagio - allegro - presto - primo tempo. Whether or not that Sinfonia concertante is the b Sinfonia concertante is debated, however, and it also is considered a doubtful work. As there is certainty that the B did exist, and uncertainty as to whether that Sinfonia concertante is the B Sinfonia concertante, that Sinfonia concertante was located at Anh To make it even more confusing, this Sinfonia concertante is K.

Recitative for Soprano and Orchestra in C major, K. Andantino sostenuto e languido "Popoli di Tessaglia! Andantino sostenuto e cantabile "Io non chiedo, eterni Dei". Prelude for Piano in C major, K. Allegretto - capriccio - andantino - presto - adagio - andantino - allegro - cantabile - capriccio allegro assai - allegro - presto. Allegretto - allegro - allegretto - allegro assai - andantino - allegretto - allegro.

Andante grazioso con moto. The trio attached to No. It was attached to No. Andantino sostenuto e cantabile. Adagio maestoso - allegro con spirito. Allegro ma non troppo - Adagio - Allegro. Most recordings will be of the serenade version above, not the symphony or sinfonia concertante versions of the serenade below. If you do need one of the two versions below, please be sure to select the correct one - the symphony version has three movements, the sinfonia concertante version two movements, and each is based on different movements from the serenade.

Sinfonia Concertante on Serenade No. Allegro vivace "Dixit dominus". Magnificat for Soloists, in C major, K. Allegro con spirito "Magnificat anima mea". If your release does have a minuet movement, please check if it is K. This minuetto was originally composed to be placed prior to movement II above; Wolfgang Amadeus Mozart tore it from the manuscript. It exists now only as that 14 measure fragment, though some believe it may have been actually been completed.

Allegro vivace "Beatus vir". Andante ma un poco sostenuto "Laudate dominum". Adagio - allegro "Magnificat". One page of K. It is believed that three pages still remain missing. Tenor or Soprano "Komm, libe Zither, komm". Andantino - allegro - andantino - allegro "Sperai vicino il lido". Recitative for Soprano and Orchestra in E-flat major, K. Andante sostenuto "Misera, dove son! While this listing has refrained from telling the stories of each work listed here, the story of K.

Mozart began composing a concert for horn, most likely for Viennese hornist Jacob Eisen. By March 3rd, however, Eisen's wife had died, and Mozart stopped working on the concerto. Mozart had a habit of placing at the end of his compositions a count of the total number of measures. Mozart's older son, Karl Thomas Mozart.

In , to celebrate the one hundredth anniversary of his father's birth, Karl cut the autograph of K. KV Anh 98 was listed only as known of, but current location unknown. By the time of the second edition, in , K2 Anh 98b had been added to the listing, but the location of KV Anh 98 was still unknown. In the passing years, enough additional pieces were found that by the time K3 was produced, KV Anh 97, KV 98, and K2 98b were recognized as the same work, and brought together with some of the other pieces under the notes section of K3 as connected with that Rondo.

Then, in K6, these pieces were recognized to be parts of the same work, but that the work they formed was not the same work as K3 , so they were reassigned their own work listing, K. Pieces continued to be located. By , 8 pieces had been found. By this point, they were held by seven different libraries scattered across the globe. Plans were then made to reassemble them for an exhibition in Then, in late , the then owner of the autograph of K.

The four pages containing those 60 measures were found to fit between the page ending measure 27 and the page begining with what had been assumed to be measure 28 in the autograph. Thus, in , with the large majority of K. Mozart stopped working on it. Therefore, if you find a release containing K. Movement "B" refers to any recording made between and Movement "B" refers to any recording made prior to Even in its reunited form, K. If you see the name "Levin" 's , "Paumgartner" , or "Kling" , be aware that you need one of the movement "C" listings below, depending upon which completion version you have.

Be careful about "Levin", by the way - he also authenticated the 60 measure fragment. Be sure that the reference to his name is for his completion, not just his authentification. Concerto for French Horn in E-flat major, K. Concerto for Orchestra in E-flat major, K. Allegretto "Or che il cielo a me ti rende". Sonata Movement for 2 Pianos in B-flat major, K. Most recordings will be the Maximilian Stadler completion - yours is, unless it specifically mentions that it is a recording of the fragment only.

Fugue for Piano in F major, K. Canon for 3 Voices in 1 in B-flat major, K. Canon for 6 Voices in 1 in D major, K. Triple Canon for 12 Voices in 3 in G major, K. In te spero, oh sposo amato Librettist: The transcriptions of the overture and as fragments only Aria Nos. This is not the Haffner Serenade , nor the symphony version of the Haffner Serenade.

Those works is are K. This is the Haffner Symphony. You almost always will want the revised version of K. Zu serenade version "Haffner": Fantasia for Piano in D minor, K. Andante - adagio - presto - tempo primo - presto - tempo primo - allegretto - a tempo. Piece for Piano or Organ in D minor, K. Sketch of Concerto for Piano No. Allegro measures , K. Concerto for French Horn No. Mozart, ought to be set as that track's composer. Concerto for French Horn in D major, K. Johann Neopomuk Cosmas Michael Denis. Recitavo for Soprano and Orchestra in B-flat major, K.

Andante - adagio - allegretto - andante - allegro assai - adagio "Mia speranza adorata". Some scholars think that Wolfgang Amadeus Mozart may never have actually begun K.

History:CSG Standard/Mozart

Some scholars think, however, that K. Aria for Bass and Orchestra in F major, K. Fugue for 4 Voices in C major, K. Chorus for 4 voices in E-flat major, K. Fugue for 4 voices in C major, K. Soprano, Alto, Tenor, Bass "Osanna". Soprano, Alto, Tenor, Bass "Crucifixus". Soprano "Ah, spiegarti, oh Dio". Recitative for Bass and Orchestra in F minor, K.

Aria for Bass and Orchestra in F minor, K. Allegro "Aspri rimorsi atroci". L'oca del Cairo, K. Presto "Ogni momento dicon le donne" Chichibio. Allegro - Adagio - Andante maestoso - Allegro "Su via, putti, presto, presto! Presto "Alto, all'armi, o miei soldati! Anhang Allegretto vivo "Ho un pensiero" Auretta, Chichibio. No tempo indication "Se fosse qui nascoso" Auretta.

No tempo indication "Ogni momento dicon le donne" Chichibio. No tempo indication "Su via, putti, presto, presto! Recitative for Tenor and Orchestra in E-flat major, K. Adagio - andante ostecon moto - allegro risoluto - andante sostenuto "Misero! Aria for Tenor and Orchestra in E-flat major, K.

Andante sostenuto "Aura, che intorno spiri". Draft of Song for 3 Voices in F major, K. Draft of Song for 3 Voices in E-flat major, K. Contredanse - tempo di minuetto. Contredanse - tempo di minuetto - allegro. Largo - allegro moderato. A newspaper advertisement advertised an Italian song of joy, "Per la recuperata saulute di Ophelia", with libretto by da Ponte and music by Salieri, Wolfgang Amadeus Mozart, and Cornetti being sold as a charity fundraiser.

However, no copies have been discovered, and of da Ponte, Salieri, and Wolfgang Amadeus Mozart, none mentions it in their personal works lists. Aria for Quartetto and Orchestra in E-flat major, K. Aria for Trio and Orchestra in A major, K. Andante Soprano, Tenor, Bass "Mandina amabile". Aria for Trio and Orchestra in B-flat major, K.

Tenor, 2 Basses "Del gran regno delle amazzone". Aria for Quintet and Orchestra in B-flat major, K. Le nozze di Figaro, K. Recitativo "Or bene, ascolta e taci! Recitativo "Ed aspettaste il giorno fissato a le sue nozze" Bartolo, Marcellina. Recitativo "Tutto ancor non ho perso" Marcellina, Susanna. Recitativo "Ah, son perduto! Recitativo "Dunque, voi non aprite? Act II, Scene Ultima. Recitativo "Andiam, andiam, bel paggio" Barbarina, Cherubino.

Act IV, Scene I.

Act IV, Scene X. Recitativo "Perfida, e in quella forma meco mentia? Act IV, Scene Ultima. Some appendix works also have individual catalog numbers. Please use the below listing if your release is a full opera release. Otherwise, if it is a collection of various works, please use the regular catalog listings found elsewhere on this page.

Larghetto "Al desio di chi t'adora" Susanna [K. Concerto movement for Horn in E major, K. There are three variations of movement I. All three can be found on releases. First, check whether yours is Allegro maestoso or Allegro moderato. Otherwise, look for notes in the liner referring to a missing, extra, or deleted section, or a reference to "Clementiunum", Prague, or measures. If any of these appears, you want listing 1C below. Otherwise, you want listing 1A below. Andantino - andante "Ch'io mi scordi di te? Andante "Non temer, amato bene".

The remainder of the 14 Interval Canons can be found listed at K. Canon for 4 Voices in 1 in G major, K. Recitativo for Bass and Orchestra in F major, K. Allegro molto - andante a tempo - tempo primo "Alcandro, Io confesso". Andante - allegretto - tempo primo "Non so d'onde viene". Aria for Bass and Orchestra in E-flat major, K. Double Canon for 4 Voices in 2 in F major, K. Adagio ma non troppo in C minor, K. Als Luise die Briefe ihres ungetruen Liebhabers verbrannte: Il dissoluto punito, ossia il Don Giovanni, K. Recitativo "Leporello, ove sei?

Recitativo "In questa forma dunque" Donna Elvira. Recitativo "Alfin siam liberati" Don Giovanni, Zerlina. Recitativo "Ah ti ritrovo ancor" Donna Elvira. Recitativo "Come mai cerder deggio" Don Giovanni. Recitativo "Io deggio ad ogni patto" Leporello, Don Giovanni. Act I, Scene XX. Recitativo "Amico che ti par? Recitativo "Eccomi a voi! Recitativo "Non ci stanchiamo" Don Giovanni, Masetto.

Lascia ch'io senta" Don Giovanni. Recitativo "Di molte faci il lume" Leporello, Donna Elvira. Recitativo "Ah, ah, ah, ah, questa e buona" Don Giovanni, Leporello. Recitativo "Di rider finirai pria dell'aurora. Recitativo "Chi ha parlato? Recitativo "Ah, si segua il suo passo" Don Ottavio. Act II, Scene Xa. Act II, Scene Xb. Act II, Scene Xc. Act II, Scene Xd. Most recordings of the Don Giovanni overture are the above one, not the below one. All recordings of the overture, when accompaning the opera, are the above one. Only if the overture is recorded as a stand-alone symphonic movement might the below version apply.

If your recording is from or before, it is definitely the above version. If you still think it might possibly be the below version, look for some indication on your liner, "alternative ending", "concert ending", or "concert version". Des kleinen Friedrichs Geburtstag: If you have a recording of "K.

It is the original Canzonetta, by Michael Kelly. Wolfgang Amadeus Mozart only arranged that work. He did not compose it. That version, too, is not K. Canzonetta "Grazie agl'inganni tuoi" in B-flat major, K. Soprano, Tenor, Bass "Grazie agl'inganni tuoi". Zu version a "Das Donnerwetter": Zu version b "Das Donnerwetter": Pay special attention if you have an Orchestral version of K. If it is orchestrated for Picciolo, 2 Clarinets, Trumpet, Drum and Strings, it is the Erik Smith orchestration from the piano reduction. If your recording predates the 's, it is the Erik Smith orchestration.

Contredanse for Orchestra in D major, K. Contredanse for Orchestra in C major, K. Your version is almost certainly the non-Zu version. If your version includes a cello and piccolo flute in the instrumentation, and does not include a piccolo trumpet, it is the non-Zu version. If it does not include a cello and piccolo flute, and includes a piccolo trumpet, it is the Zu version. Contredanse for Orchestra in B-flat major, K. The other half of this work is listed under K. Ah se in ciel, benigne stelle Librettist: Canon for 4 Voices in 1 in B-flat major, K. Canon for 4 Voices in 1 in F major, K.

This contredanse is based on themes from an opera by Pasquale Anfossi, "La forza delle donne". All that has survived until recently is the second violin part. A 53 measure fully scored fragment surfaced in December If your release was recorded after December , please make sure you select the correct K. Contredanse for Orchestra on Violin in D major, K.

Humorous Quartet for 4 voices in E-flat major, K. Minuet for Piano in D major, K. Allegro - andante sostenuto "Vado, ma dove? Act I, Scene I No. Andante "Ah, guarda, sorella" Fiordiligi, Dorabella. Allegro agitato "Vorrei dir, e cor non ho" Don Alfonso. Act I, Scene V No. Maestoso "Bella vita militar! Son partiti" Don Alfonso, Fiordiligi, Dorabella. Allegro assai - maestoso "Ah, scostati! Allegro agitato "Smanie implacabili che m'agitate" Dorabella. Che aspetto di tristezza" Don Alfonso, Despina. Sogno, o son desto? Andantino "Non siate ritrosi" Guglielmo. Allegro molto "E voi ridete?

Andante cantabile "Un'aura amorosa" Ferrando. Allegro "Despina in maschera, che trista pelle! Andante "Una donna a quindici anni" Despina. Andante "Secondate, aurette amiche" Ferrando, Guglielmo, Chor. Allegro - adagio "Barbara! Allegretto "Donne mie, la fate a tanti" Guglielmo. Allegro - andante "In qual fiero contrasto, in qual disordine" Ferrando. Only use the alternate aria for No. Mozart replaced with the above one. I, Scene XI No. Allegro Bass "Rivolgete a lui lo sguardo" Guglielmo. Larghetto - allegro - larghetto - primo tempo.

Zu first version Adagio for a Mechanical Organ in D minor, K.

Contredanse for Orchestra in E-flat major, K. Andante - adagio - allegro Bass, Contrabass "Per questa bella mano". Adagio "Io ti lascio, oh cara, addio". Cavatina for Soprano and Orchestra in E-flat major, K.

Newsletter

The Requiem in D minor is perhaps one of the most famous fragmentary works of all time. Many different completions for the work are performed, as well as the non-completed fragmentary version. However, don't let the number of different completions scare you. Almost all recordings of K. Wolfgang Amadeus Mozart for composition for all tracks. Requiem in D minor, K. Zu Skb a 3 sketch: Robbins Landon in 3a - 3f. Movements I - IVb, composition: Wolfgang Amadeus Mozart and Robert D. Wolfgang Amadeus Mozart and Richard F. Maunder, arrangement and orchestration: Wolfgang Amadeus Mozart, composition additional: An alternate version of the Maunder completion also omits the Agnus Dei movement.

If your release does not have an Agnus Dei, please use the below two movements instead of the above three. More information is needed before this completion can be listed. Please contact BrianFreud if you find a recording of this version. Wolfgang Amadeus Mozart Orchestration: Wolfgang Amadeus Mozart Arrangement: Wolfgang Amadeus Mozart Composition Additional: Joseph Leopold von Eybler Orchestration: Joseph Leopold von Eybler Composition Additional: Wolfgang Amadeus Mozart Composition: Some publishers of the Requiem score split movement 8; if your release has a split movement 8, please use the listing below instead of the one above.

Piece for Piano in B-flat major, K. Piece for Piano in E-flat major, K. Fugue for Piano in C minor, K. Carl Friedrich Abel Op. Scipione wants to join them, but they reject him, reminding him of his mission on earth. Fortuna is the temptress, seductive, emotional, and flighty, Costanza, a bastion of fortitude, reflective, warm, stable, and reliable. The tension between both goddesses is best felt in their recitatives, where they embody the opposition of the emotional mind reacting impulsively to impressions and immediate enthusiasms, versus the critical thinking mind of reflection and prudent decisions.

The competition between both goddesses for the soul of Scipione is conducted in a very civilized, self-controled and courtly manner. They never go at each other, simply vaunt their merchandise to the potential buyer, Scipione. But Hermann Abert emphasizes that the marked difference, described in the recitatives between the two contestants, Fortuna and Costanza, is no longer perceptible in their arias. Moreover, if Scipione himself betrays doubt and uncertainty, he does not experience any real psychological conflict, Romantic style, in forming his choice. He simply tries to assess the attractiveness of two opposing offers.

And, being from a line of certified Roman heroes, he is expected from the outset to make the right choice. This libretto was considered the very model of a moral debate, and fit to perform in Salzburg to honor the Archbishop. So, the opera offers little in terms of plot or real drama. This raised quite a challenge to young Mozart.

He didn't find the expected setting of a violent drama between protagonists where he could excel at portraying both extremes of love, affection, and protection versus hatred, rage, and spirit of revenge. As in "Ascanio in Alba", Mozart had to show ingenuity and inherent grace to give life to abstract characters. But their interesting interactions and confrontations stimulate the adolescent's creative reactions.

Abert, in , claims that "Mozart clearly had as much difficulty relating to this tale of supernatural beings as modern audiences do" p. Well, we, years later, cannot be so sure. He's handled brilliantly every libretto thrown at him, be it in German, Latin, Italian, in whatever form or genre. There's no sign anywhere that Mozart found this new work more challenging than any previous one. He betrays no boredom, tackles his new challenge with his usual gusto, and feels perfectly in his element every time he has to compose an opera.

Here, the adolescent creates exquisite music for his friendly and lenient Archbishop Schrattenbach, who had so kindly let him take, over so many years of absence from Salzburg, all those long journeys throughout Europe. Won over by Costanza's argument in her second No. Bella Costanza, Guidami dove vuoi" "No more. Beautiful Costanza, lead me wherever you want". And when Fortuna protests, "E i donni miei? He then launches into his second aria, No. At this audacity, Fortuna explodes in rage and summons "horrible disasters" to punish this arrogance.

Scipione, still in his dream, is suddenly swept in the midst of a global tempest, "Stelle, che fia? What's this blood-red light! But Scipione, true to himself, stands steadfast and unflinching: Your threats are in vain. The 3 tenors are reliable Mozartian singers, who do their job handling the complex coloratura of young Mozart, and contribute the special charisma of their solid male voices to produce an exceptionally exciting performance.

In some scattered isolated comments on Amazon, a few biased listeners like to dump on Schreier by affecting to find him on the boring side, congratulating themselves on their elite discriminating taste. But, frankly, this is laughable. Here, as Scipione, Schreier has 2 most important arias in a total of 10, and is involved in practically all the recitatives. And, granted, by contrast to the scintillating performances of the great sopranos in the cast, aging male listeners may easily find the tenors' delivery a shade less seductive.

But, truly, a grand heroic tenor is not entirely needed for Scipione, who has to sound reflective and indecisive. Scipione is a bit of the same cast as Christian in "Schuldigkeit". Each young man is a stake in a contest between two opposing powers vying for the control of his soul. Giving a heroic tenor voice to Christian would be ludicrous, although it is more justified for Scipione, who, after all, is a Roman hero. No doubt, Schreier delivers a tone valorous enough for his part of the decent, proud, straight-arrow Scipione, full of rectitude, eager to do the right thing.

Schreier's tone is limpid, his elocution superb, and he can belt out the coloratura where needed. He's been universally recognized as a first-class professional Mozartian tenor, and has been used by the top conductors and producers of Mozart operas. As a counterpart to the 3 male voices, the 3 sopranos are outstanding, ravishing, and among the very best female voices in the world: They are all exquisitely seductive, but here I confess a marginal preference for Popp's voice and her rapturous coloratura over Gruberova's.

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Mathis, with her thrilling high notes, proves once again, as Licenza in the concluding aria here repeated in two versions , that she is a born Mozartian soprano. These three superlative, intoxicating, voices certainly justify getting this magnificent Hager recording of Mozart's passionate serenata. Half of the arias go to the tenors: The other half go to the sopranos: Note the sound structure of Metastasio's libretto.

Scipione sets off his debate with the two goddesses at the start of the opera, by delivering No. Then, the three arias of the two ancestors are bunched together in the middle of the work, Arias No. Scipione pursues and concludes his debate with the females in the final part with his second, No. When Licenza intervenes, it is as an outside observer commenting on the action, putting the whole work in perspective for the audience. In this work, the psychology of the characters and their actions is better explained in the recitatives on which, as Abert underlines "Mozart lavished great care". However, Abert continues, "there is little sign of such distinction [between Fortuna and Costanza] and even the 3 Roman heroes -- all cast as tenors --are virtually indistinguishable as characters After Mozart's success with his 16 exuberant choruses in "Ascanio in Alba", it is a shame that Metastasio, the famous librettist, did not think of interspersing more choruses into "Scipione".

For Mozart clearly stated that the kind of vocal composition he preferred above all was choruses. Mozart, dealing from his early age with kings and princes, had an attraction for the grandiose and the majestic. In writing choruses, he was in his element, as it brought out the expansive, powerful, side of his inspiration. A soul is bound to wander in doubt, when it vacillates in the fluctuations of the heart. One moment I am agitated, next serene again. First I like to bring up oppressed people, then to let down the same I tried first to raise. Abert remarks that "On a purely formal level, 3 of these arias [No.

Similar "graphic effects" are used in other arias as well, No. His space adventure is doubled with a lesson in cosmology. But why can't humans on earth ever hear it? Because it's beyond the capabilities of human senses. Who lives by the bank of the raging Nile cannot hear the fury of its crushing thunder. You will find thousands footprints of your ancestors on the clear path where you tread. For who died like us never stopped to live, and who lives only for himself does not deserve to be born. Emilio now appears and sermonizes Scipione how insignificant are the earth and its futile pursuits in the face of the immense celestial spaces.

Up here we laugh at you, when in old age, near the end, with hair turned white, you still are all children. This is the longest aria, 8'48". With joy am I willing to abandon that place down there with too much unhappiness. Impossible, as he is fated to save Rome first. If it loses its crown to winter, but its roots go deeper; it gains strength while losing its looks.

But if I throw him a dark and gloomy look, the bush does not spread its branches, and the sea refuses him its waves" Scipio should follow Fortuna, since her favors make her followers happy and prosperous, and her resentments bring forth bad luck. But the rock survives the attack with pride, and the sea, soon calmed and ebbing, licks its feet.

D'altri non curo; Eccomi tuo seguace Ho gia deciso" Scipione, Fortuna "No more, beautiful Costanza, lead me wherever you wish. I am your follower I have already made up my mind. The desperate, who are worthless, revere you, tyrannical goddess,, and have nothing but the low merit of your favor. Fortuna questions the audacity of Scipione's choice, and breaks into the only moment of emotional violence in the whole opera.

She explodes in anger and unfurls a cosmic tempest on Scipione, complete with violent thunder and lightning. But the sterling Roman soul remains firm and does not panic I accept what will come. On this occasion, however, it still lacks the syncopated harmonies that were later to be generally associated with it. Di te ragiono, Quando parlo di lui. It's of you that I'm thinking when I speak of him.

Who is asking for signs of virtue, hears them from those, but sees it in you. And the credit to the ear is slower and less accurate. Why seek virtue in the sayings of past figures, when we can see it with our own eyes embodied in you? Licenza's short aria runs 3'19", to laud the concluding choice of virtue. Abert finds it "in no way exceptional" by comparison with the magnificent No. So, the whole final sequence is repeated: Cliff Eisen points out that Licenza's second version "was revised in March or April in anticipation of a performance in Salzburg on April 29, to celebrate the election of Archbishop Colloredo.

They all are fascinating, and another seductive feature of this work. Try as he may, Mozart refuses to follow the Italian practice of limiting the orchestra to a role of simple accompaniment, doubling, or enhancement of the singers' arias. Hermann Abert keeps criticizing Mozart on this aspect of his operatic writing, as if taking as an absolute model the Italian practice of using the orchestra simply for framing the vocal line -- not exactly "Prime le parole", but dominance of the singer over the instruments.

But Mozart is not willing to let go of all the entrancing music that comes naturally flowing through his head, and that he feels compelled to jot down immediately in the orchestra partition. As usual in Mozart's writing for the voice, the richness of orchestral ideas is mind-numbing and always exciting, with the orchestra developing a life of its own. This was manifest ever since Mozart's younger years, when he wrote his first aria at age 9, "Va dal furor portata" K21 a song of rage.

See another full demonstration of his early passion for orchestral richness in the famous magician's air "Diggi, Daggi" in "Bastien Und Bastienne" K50, written in at age Mozart's was an early life choice. Spontaneously attracted to the human voice, he was also steeped in the German tradition of orchestral deployment. Or the composer above the librettist. In reality, Mozart always needed "le parole" the words to excite his feelings, and the feelings immediately brought forth the music from his unconscious.

What he objected to was, first and above all, the idiocy of too many texts, with useless and loose sentences, beating around the bush instead of plunging "in medias res". And, second, reducing the orchestra to a simple amplifier or background for the singer. For Mozart, the freedom of the orchestra borrowed from the tradition of "opera buffa" to participate in creating the aural atmosphere along the vocal line of the aria "seria" was essential. In Mozart's vocal writing, it is essential and great fun to pay attention to his surprising, often extraordinary, melodic inventions for the orchestra.

In order to match the intensity of his music, once his intuition was somewhat in place and was guiding him for his writing, Mozart insisted on the importance of pruning and tightening the text, to concentrate the full impact of the music, both vocal and orchestral. Once confident in his theatrical experience, Mozart goaded the librettist towards producing pointed relevance, and respecting the composer's intuition as to the fit between his music and the librettist's words. In spite of the absence of the grand explosions of passion that bring Mozart to incandescent flights of music, this opera offers in its context of space fiction beautiful melodies to the singers, especially designed for supremely skilled sopranos, as usual in Mozart, and riveting invention of orchestral motifs.

Alfred Einstein , so passionately perceptive of Mozart's entire work, still remains a victim of the "Late Mozart Cultism" of the 19th c. He too glibly and unfairly dismisses Mozart's early operas, and sees in this "wretched piece" simply "a matter of routine" for Mozart, in which "everything remains entirely on the level of the decorative".

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