Le Nozze di Figaro (arr Peters)

From Wind Repertory Project
Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (trans. Katherine Peters)

General Info

Year: 1786 / 2013
Duration: c. 4:55
Difficulty: V (see Ratings for explanation)
Original Medium: Orchestra
Publisher: BRS Music
Cost: Score and Parts (print) - $65.00


Full Score
Flute I-II
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet (optional)
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone


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.

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


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