The year saw the composition of more symphonies, concertos for bassoon and for two violins in a style recalling J. Bachserenades, and several sacred works. Mozart was now a salaried court Konzertmeister, and the sacred music in particular was intended for local use. Archbishop Colloredo, a progressive churchman, discouraged lavish music and set a severe time limit on mass settings, which Mozart objected to but was obliged to observe.
It shows Mozart, in his first comic opera since his childhood, finding ways of using the orchestra more expressively and of giving real personality to the pasteboard figures of Italian opera buffa. A period of two and a half years from March began in which Mozart worked steadily in his Salzburg post. The work was for Il Sogno di Scipione - Wolfgang Amadeus Mozart - The Complete Operas (CD) undemanding and by no means compatible with his abilities.
His most impressive piece for the church was the Litaniae de venerabili altaris sacramento Kwhich embraces a wide range of styles fugues, choruses of considerable dramatic force, florid arias, and a plainchant setting. The instrumental works included divertimentos, concertos, and serenades, notably the Haffner Kwhich in its use of instruments and its richness of working carried the serenade style into the symphonic without prejudicing its traditional warmth and high spirits.
The five concertos for violinall from this period No. Il Sogno di Scipione - Wolfgang Amadeus Mozart - The Complete Operas (CD) use of popular themes in the finales is typically south German. He also wrote a concerto for three pianos and three piano concertos, the last of them, Kshowing a new level of maturity in technique and expressive range. Wolfgang Amadeus Mozart.
An opera is sure of success when the plot is well worked out, the words written solely for the music and not shoved in here and there to suit some miserable rhyme The best thing of all is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true phoenix;  in that case, no fears need be entertained as to the applause — even of the ignorant.
It would seem that something along these lines did happen—that is, Mozart decided to play a major role in the shaping of the libretto, insisting that Stephanie make changes for dramatic and musical effect. On 26 September Mozart wrote:. Now comes the rub! The first act was finished more than three weeks ago, as was also one aria in act 2 and the drunken duet ["Vivat Bacchus", act 2] But I cannot compose any more, because the whole story is being altered — and, to tell the truth, at my own request.
At the beginning of act 3 there is a charming quintet or rather finale, but I would prefer to have it at the end of act 2. In order to make this practicable, great changes must be made, in fact an entirely new plot must be introduced — and Stephanie is up to his neck in other work.
So we must have a little patience. Mozart was evidently quite pleased to have in Stephanie a librettist who would listen to him. The September 26 letter also says:. Everyone abuses Stephanie. It may be the case he is only friendly to my face. But after all he is preparing the libretto for me — and, what is more, exactly as I want it — and by Heaven, I don't ask anything more of him.
With the delays for rewriting, the composition took several more months. The premiere took place on 16 Julyat the Burgtheater in Vienna. As Spike Hughes notes, the action is mostly carried forward by the spoken dialogue, so the libretto gave Mozart little opportunity to display an achievement for which his later operas are celebrated, namely the construction of scenes in which the plot is both reflected in and driven forward by the music.
Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism. The music includes some of the composer's most spectacular and difficult arias.
Osmin's act 3 aria " O, wie will ich triumphieren " includes characteristic 18th century coloratura passage work, and twice goes down to a low D D 2one of the lowest notes demanded of any voice in opera.
Il Sogno di Scipione - Wolfgang Amadeus Mozart - The Complete Operas (CD) sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors. The virtuosity of these roles is perhaps attributable to the fact that when he took up the task of composing the opera, Mozart already knew the outstanding reputations of the singers for whom he was writing, and he tailored the arias to their strengths.
Similarly, Mozart wrote of the first Konstanze, Caterina Cavalieri"I have sacrificed Konstanze's aria a little to the flexible throat of Mlle.
The opera was a huge success. The first two performances brought in the large sum of florins, three times what Mozart's salary had been for his old job in Salzburg. All our endeavour Although the opera greatly raised Mozart's standing with the public as a composer, it did not make him rich: he was paid a flat fee of Imperial ducats about florins for his work, and made no profits from the many subsequent performances.
This opera is firmly ensconced in the repertoire today. The complexity of Mozart's work noted by Goethe also plays a role in a well-known tale about the opera which appeared in the early biography of Mozart by Franz Xaver Niemetschek. In the version of the anecdote printed in Bartlett 's Book of Anecdotesa reference work, the story is told like this:.
The Emperor Joseph II commissioned the creation of The Abduction from the Seragliobut when he heard it, he complained to Mozart, "That is too fine for my ears — there are too many notes. The authenticity of this story is not accepted by all scholars. The original reads as follows: .
Mautner, translating Niemetschek, renders this as "an extraordinary number of notes",  while Branscombe translates it simply as "very many notes". The singers perform with a Classical-era orchestra : pairs of flutes 2nd doubling piccolooboesclarinetsbassoonshornstrumpetsa set of two timpaniand strings.
They are augmented with the instruments needed for "Turkish" music : bass drumcymbalstriangleand piccolo. The aria " Traurigkeit ward mir zum Lose " is augmented by a basset horn.
The orchestra for the premiere included a number of eminent musicians of the day: first cellist Joseph Franz Weiglfirst oboist Josef Triebenseesecond horn Joseph Leutgeband the clarinettist brothers Anton and Johann Stadler. In the first violin section was Franz de Paula Hoferwho later became Mozart's brother-in-law. After a lively overture, Belmonte enters, looking for his betrothed, Konstanze, who with her English servant Blonde has fallen into the hands of pirates and been sold to Pasha Selim Aria: "Hier soll ich dich denn sehen" — "Here surely I must find her".
Belmonte tries to obtain news of his servant, Pedrillo, who has been captured with the women and is serving as a servant in the Pasha's palace. When you purchase a lossless format, we include the MP3 free of charge Please note: On Mp3 format an unavoidable click may be heard on segue track breaks, Il Sogno di Scipione - Wolfgang Amadeus Mozart - The Complete Operas (CD) avoid this issue please select lossless.
This item is temporarily unavailable. Deselect All. Recitativo: "Vieni e siegui i miei passi" Fortuna, Costanza, Scipione. Solo: Stuart Jackson tenor Scipione. Solo: Stuart Jackson soprano Costanza. Solo: Stuart Jackson soprano Fortuna, Il Sogno di Scipione - Wolfgang Amadeus Mozart - The Complete Operas (CD).
Solo: Krystian Adam tenor Publio. Solo: Robert Murray tenor Emilio. Solo: Robert Murray soprano Licenza. Choral: Robert Murray.
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