Le Nozze di Figaro

From Wind Repertory Project
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (arr. Bernardini)


General Info

Year: 1786
Duration: c. 17:50
Difficulty: (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Alfredo Bernardini
Cost: Score and Parts - Unknown


Movements

1. Sinfonia – 4:25
2. Cinque...dieci... – 2:08
3. Se vuol ballare, signor contino – 1:55
4. Non più andrai, farfallone amoroso – 3:09
5. Porgi amor, qualche ristoro – 2:37
6. Che soave zeffiretto – 1:31
7. Ecco la marcia – 2:06


Instrumentation

Full Score
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II
Basset Horn I-II
Horn in F I-II-III-IV
String Bass


Errata

None discovered thus far.


Program Notes

“I would love to show here what I can really do with an Italian opera."

The words above are from a letter to Mozart’s father in May 1783, where he noted his resolve to compose what would end up being a masterpiece of his oeuvre: Le Nozze di Figaro. Mozart recognized his way to achieving notoriety in Vienna through a relationship with the already famous librettist Lorenzo da Ponte, and after being presented with the idea, da Ponte agreed to collaborate - though he would keep Mozart waiting two years before sending a libretto. The opera premiered on May 1, 1786, and received a tumultuous reception - so much so that the encores were limited to solos to maintain a manageable running time. The triumph of Le Nozze di Figaro led to two more very successful productions from da Ponte and Mozart: Don Giovanni and Cosi fan Tutte.

The mood of Le Nozze di Figaro is set by the overture, which begins with a busy whispering followed by a tutti theme that alerts the listener to a movement of romping clarinets and double reeds. The playful Non pià andrai (You shall go no more) is an aria sung by Figaro in which he teases Cherubino about his military future. The movement is in the style of a military march, which is called to attention by the bugle calls in the horns in the final phrase. Porgi, amor is a cavatina sung by the Countess Almaviva in the first scene of the second act. The simplicity of the melody, played here by the oboe, along with the absence of ornamentation, reflects the sparseness and melancholy of Almaviva’s lament. The finale of this set is Ecco Ia marcia, a processional from the double-wedding in the final scene of act three. The movement ends in rejoicing tones and optimism - a reflection of the feeling of the newlyweds.

Arranged for 13 instruments, Alfredo Bernardini’s adaptation of Le Nozze di Figaro takes a cue from one of Mozart’s most important contributions for the harmoniemusik ensemble: Serenade No. 10 in B-flat Major, K. 361, the Gran Partita. In 18th century Vienna, a gathering of horns and winds was often used to provide background entertainment for parties in the homes of those well-heeled enough to order the commission. Mozart pushed the boundaries of this setting by breathing music into the chamber wind ensemble that unites entertainment with depth, giving life to themes that rouse the senses and connect with the soul.

- Program note by Andrew Bajorek for American Chamber Winds concert program, 18 July 2017


Media


State Ratings

None discovered thus far.


Performances

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Works for Winds by This Composer

Adaptable Music


All Wind Works


Resources

None discovered thus far.

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