Clarice cara mia sposa, aria, K256 - Full Score

"Clarice cara mia sposa", aria, K - Full Score - Kindle edition by Wolfgang Amadeus Mozart. Download it once and read it on your Kindle device, PC, phones.
Table of contents

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• Mozart : Concert Arias for Tenor (Urtext). : Voice: (Barenreiter)
• Arie: "Clarice cara mia sposa", K. 256, D Major
• Solo Voice with Orchestra

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Click here Would you like to report this content as inappropriate? Click here Do you believe that this item violates a copyright? Your recently viewed items and featured recommendations. The text for K. Arbace has been wrongly imprisoned for crimes actually committed by his father, Artabano, but he refuses to betray the latter. Addressing his father, Arbace nobly accepts his destiny.

As sometimes happened in concert versions of operatic scenes, the singer assumes the roles of both characters in the recitative, in order to preserve dramatic continuity.

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Mozart added the licenza to honor the sixty-ninth birthday of the prince-archbishop Sigismund von Schrattenbach, which occurred on February 28, This recently discovered work appears to date from the late s. It is warmly lyrical, with just a touch of pyrotechnical coloratura. Leopold Mozart claims, in a letter of May 28, , that Wolfgang composed an aria in Olomouc, in December , for the daughter of a physician, a certain Dr.

Milan, February or March Author: It is also the most ambitious — a full measures long, even though it lacks an opening recitative. In eighteenth-century Italy this sort of grand opera seria aria, or aria monumentale , was greatly admired by the aristocratic opera lovers of the day. Mozart undoubtedly designed this piece for a virtuoso castrato voice.

The text is the opening aria of the hero Arbace. Milan, March Author: This is one of five concert arias K. The complete text was set by some of the finest masters of the first half of the eighteenth century: Rome, April 25, Author: As a nine-year-old, Mozart had taken some singing lessons from Manzuoli in London. He was a florid singer of formidable powers, but Mozart chose to show off his quiet, legato style in K.

In this scene of the opera, Timante has just witnessed his beloved Dirce dragged off to be a sacrificial victim, chosen by the king of Thrace as his yearly sacrifice to Apollo. Rome, April or May Author: Mozart gives the singer three opportunities to improvise cadenzas in this aria. Milan or Pavia, early Author: In the aftermath of this performance, Mozart composed his last concert aria before his return to Salzburg. In retaliation, she insists to his brother Cherinto, who is madly in love with her, that he kill Timante if he wishes to enjoy her favors.

Salzburg, October 26, Author: Mozart was apparently called on to provide a new aria for the prima donna. Rapidly becoming a master of the style, he turned out a comic gem that surpasses anything in his own opera buffa of ten months earlier, La finta giardiniera.

In Act I, Scene 4, Dorinda addresses her suitor: Salzburg, August Author: Vittorio Amadeo Cigna-Santi Scoring: The aria was commissioned by the great Prague-born soprano Josephine Duschek in the summer of She was an oratorio singer and specialist perhaps the first ever in vocal music for the concert stage. In Act III, Scene 10, Euristeus, betrothed to Andromeda, tells her that he has met Perseus, her true lover, wandering in a garden, holding an unsheathed sword and bereft of his senses.

Andromeda, imagining that Perseus has killed himself, at first turns in rage upon Euristeus for not having prevented the suicide. Mannheim, February 24, Author: It was the first of eight he wrote for Aloysia Weber. Mozart was closer to her than to any other singer in his life and was, in fact, already deeply in love with her when he completed the work. The aria with its special connection with Aloysia Weber was obviously of enormous importance to Mozart, and he frequently made references to the aria and to her in his letters home during his visit to Mannheim.

In the opera, an attempt is made on the life of King Clisthenes of Sicyon by a young man who is later revealed to be his son, separated from his father since infancy. Clisthenes has just condemned the would-be assassin to death. Deeply troubled by an inexplicable sense that he knows the youth, he asks his confidant, Alcander, what this sudden pounding of his heart, these tender feelings, can mean.

According to his letters, Mozart began to set this scene for the tenor Anton Raaff, but felt compelled to change to the soprano register. Just three days after that, he compensated Raaff with a tailor-made aria, K. Nine years later he set the text again, to entirely new music for a bass voice see the note for K.

Mannheim, February 27, Author: Two years later Mozart was to create the role of Ilia in Idomeneo for her.

The jealous Aeneas demands that she retract her written promise, and Dido hands him the paper containing the retraction. But still fearing that she will lose Aeneas, she pleads with him, in tones of quiet, understated intensity, not to abandon her. Of all the arias Mozart composed for Aloysia Weber, this is the most brilliant and dazzling. While his other works for her fairly glow with warmth and tenderness, this one is largely a matter of transcendental vocal cords. Mozart rarely wrote more difficult vocal music. The hero Sevino, son of the Regent of China, sings them in Act I, when he and his princess Lisinga are in danger of being separated.

The earlier version would seem to date from about the time Mozart first became fond of Aloysia Weber; the later version was to be his last composition for her. Why Mozart put the work aside remains unexplained. Paris, July ; Munich, January 8, Author: Raniero de Calzabigi Scoring: While Mozart was in Paris in the summer of , he set as ide time from his busy rounds to begin an ambitious operatic scena for Aloysia Weber. This was a bold and some must have thought arrogant gesture coming from a twenty-three-year-old composer.

The opera tells the story of the Thessalian King Admetus, who is on his deathbed when an oracle of Apollo announces that the king will be spared if one of his subjects volunteers to die in his place.

Only his wife, Alcestis, comes forward. Only in the final section of her long aria does she give way and allow her grief to pour forth. Salzburg, , or Munich, Author: Musicologist Alfred Einstein believes that the aria was intended for the Munich soprano who created the demanding role of Electra in Idomeneo , Elisabeth Wendling. She was a sister-in-law of Dorothea Wendling, the Ilia of the Idomeneo premiere and the dedicatee of the concert aria K.

Secretly married to Dirce, Timente laments the sorrows that afflict his wife and himself. Munich, March 8, Author: This is the last work that Mozart wrote before taking up residence for the rest of his life in Vienna. The aria was written in Munich in the aftermath of the premiere and great success of Idomeneo. It was designed for and dedicated to an aristocratic amateur, the Countess Josepha von Paumgarten. The text comes from another Metastasio libretto, Ezio , which was set by dozens of composers.

Massimo spreads false rumors to poison their love, and has Ezio cast into prison.

Now, with her betrothed flung into prison and threatened with death, she ponders her destiny. Vienna, April Author: Giovanni de Gamerra Scoring: In the spring of Mozart was in Vienna with a fellow Salzburg musician, the male soprano Francesco Ceccarelli. Both were in the retinue of their employer, the archbishop of Salzburg, who was visiting the capital. This aria exists only in an undated non-autograph version for voice and piano.

Of the various hypothetical origins proposed by historians, the one most commonly accepted places it as a companion piece to K.