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<!DOCTYPE html><html><head><title>Mozart Studies - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Mozart_Studies.html?id=7AiUpfaK3QUC"/><meta property="og:url" content="https://books.google.com/books/about/Mozart_Studies.html?id=7AiUpfaK3QUC"/><meta name="title" content="Mozart Studies"/><meta name="description" content="Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities."/><meta property="og:title" content="Mozart Studies"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/content?id=7AiUpfaK3QUC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE717AOrFch1X8baU0gKimq5f8DIJaAw3dhXTxmko7ZU1L00YMm4zdbarPSt_Y0bsd7ShA3Ydaxtut2sWe23mVcj7IzWcK2W7vctV56DK3X1XRlwQ9bbVsot_UBJiIh5pt5Qm7tb5"/><link rel="image_src" href="https://books.google.com.sg/books/content?id=7AiUpfaK3QUC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE717AOrFch1X8baU0gKimq5f8DIJaAw3dhXTxmko7ZU1L00YMm4zdbarPSt_Y0bsd7ShA3Ydaxtut2sWe23mVcj7IzWcK2W7vctV56DK3X1XRlwQ9bbVsot_UBJiIh5pt5Qm7tb5"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3D7AiUpfaK3QUC%26q%3Dlibretto%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=7AiUpfaK3QUC&q=libretto&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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href=\"https://books.google.com.sg/url?id=7AiUpfaK3QUC\u0026pg=PA126\u0026q=http://www.cambridge.org\u0026clientid=ca-print-cambridge\u0026linkid=1\u0026usg=AOvVaw1KHhtFalnhaRQ4zFJTOTcr\u0026source=gbs_pub_info_r\"\u003eCambridge University Press\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":false,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Cambridge University Press","publication_date":"2006.11.02","subject":"Music","num_pages":252,"sample_url":"https://play.google.com/books/reader?id=7AiUpfaK3QUC\u0026source=gbs_vpt_hover","synposis":"Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false,"last_page":{"pid":"PA242","order":242,"title":"242"}},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3D7AiUpfaK3QUC%26q%3Dlibretto%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA126","highlights":[{"X":256,"Y":199,"W":36,"H":13},{"X":248,"Y":232,"W":36,"H":13},{"X":460,"Y":232,"W":36,"H":13},{"X":214,"Y":248,"W":36,"H":13},{"X":126,"Y":264,"W":36,"H":13}],"flags":8,"order":126,"vq":"libretto"}]},null,{"number_of_results":23,"search_results":[{"page_id":"PA74","page_number":"74","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, which was first set by Pasquale Anfossi for the previous Carnival season in Rome, has often been dismissed as highly. 1James Boswell, The Life of Samuel Johnson (London, 1986), p. 159. This essay originated as a paper written\u0026nbsp;..."},{"page_id":"PA75","page_number":"75","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e the Bavarian court sent to Mozart appears rather modish and up-to-date. It offered the young composer a plot steeped in the contemporary culture of sensibility, a chance to compose in the new sentimental singing style, and a\u0026nbsp;..."},{"page_id":"PA77","page_number":"77","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, La Cecchina, ossia La buona figliuola, for Parma in 1756, where it premie`red in a setting by Egidio Duni.10 It was not until Niccolo` Piccinni set this \u003cb\u003elibretto\u003c/b\u003e for Rome in 1760, however, that La buona figliuola was taken up\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e for La cifra was based on Petrosellini\u0026#39;s La dama pastorella. e Also performed as La Pamela maritata, this is a revision of Goldoni\u0026#39;s \u003cb\u003elibretto\u003c/b\u003e La buona figliuola maritata. \u0026#39;This is a setting of Bertati\u0026#39;s \u003cb\u003elibretto\u003c/b\u003e La\u0026nbsp;..."},{"page_id":"PA83","page_number":"83","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e in a similar vein. Farinelli\u0026#39;s was titled Pamela, and Guglielmi\u0026#39;s La Pamela casada. Although Piccinni\u0026#39;s was not the first setting of Goldoni\u0026#39;s \u003cb\u003elibretto\u003c/b\u003e, it was his opera that drew audiences all over Europe, receiving over 70\u0026nbsp;..."},{"page_id":"PA84","page_number":"84","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e was. La contadina in corte Rust Sacchini Sacchini Anfossi Tassi \u0026#39; Tassi Tassi Tassi 1763 (Venice) 1765 (Rome) 1768 (Lucca) 1775 (Rome) • Anfossi\u0026#39;s version was titled La contadina incivilita, and also known as II principe di Lago\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e was produced in Vienna in 1775, possibly with the addition or substitution of some new music. La finta Anfossi Petrosellini? 1774 (Rome) giardiniera w_ A_ Mozart Petrosellini? 1775 (Munich) • Anfossi\u0026#39;s version received at least\u0026nbsp;..."},{"page_id":"PA88","page_number":"88","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e by Zeno (1701) is based on a story in Boccaccio\u0026#39;s Decameron (and familiar from Chaucer\u0026#39;s The Canterbury Tales). Notes: \u0026quot;Duni\u0026#39;s opera was performed under the title La bonne fille in Paris (1761). This title, which designates the\u0026nbsp;..."},{"page_id":"PA89","page_number":"89","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e by Zeno and been set often in the first half of the eighteenth century, was already a familiar operatic subject when La buona figliuola arrived on the scene, but was adapted in the 1790s in ways that fit the new sentimental\u0026nbsp;..."},{"page_id":"PA90","page_number":"90","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, the Marchese is prepared to do what Milord Bonfil only contemplated, to marry Cecchina without regard for his own situation. 20For a discussion of the differences between Goldoni\u0026#39;s play and his \u003cb\u003elibretto\u003c/b\u003e, see William C. Holmes\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e for L\u0026#39;oca del Cairo: \u0026#39;The patience of the audience might hold out for one act, but certainly not for a second one – that is quite out of the question\u0026#39;.30 The poignant effect of presenting the heroine soliloquizing, alone with\u0026nbsp;..."},{"page_id":"PA99","page_number":"99","snippet_text":"... \u003cb\u003elibretto\u0026#39;s\u003c/b\u003e recitative as accompagnato; he includes a startling four arie agitate (an unprecedented number in an opera buffa); and he creates an extraordinary, extended mad scene for Count Belfiore in Act 2. In addition, since there was\u0026nbsp;..."},{"page_id":"PA101","page_number":"101","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e to centre on a young woman of noble blood who is not a foundling (one later opera, Nina, also centres on a young woman of noble blood, but there is no mystery about her identity). It is the only opera of this group that centres\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e as \u0026#39;abbandonata da D[on] Gio[vanni]\u0026#39;.43 What E. T. A. Hoffmann claims about Donna Anna may be stated with certainty about Donna Elvira: \u0026#39;She was not saved\u0026#39;.44 Having failed to preserve her virtue, she is not Pamela. Like\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, as miscalculations of one kind or another. When taken together, however, they cannot be easily dismissed and it seems that we might benefit from Dr Johnson\u0026#39;s advice. We should not read these moments for the story; we should\u0026nbsp;..."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e Demetrio (Act 3, scene 3), first set as an opera in 1731 by Antonio Caldara, who made at least one setting of this text as a canon (see Ex. 5.3).17 This is one of approximately 500–700 canons he composed in Vienna c. 1730,18\u0026nbsp;..."},{"page_id":"PA126","page_number":"126","snippet_text":"... (\u003cb\u003elibretto\u003c/b\u003e 1791) or \u0026#39;Infelice chi in amore\u0026#39; (\u003cb\u003elibretto\u003c/b\u003e 1792). The 1791 \u003cb\u003elibretto\u003c/b\u003e identifies the trio as a \u0026#39;canone\u0026#39;, while the 1792 \u003cb\u003elibretto\u003c/b\u003e supplies the information \u0026#39;Introduzione del Sig. M. Sarti\u0026#39;. I have not yet found this canon, nor\u0026nbsp;..."},{"page_id":"PA144","page_number":"144","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e. The analogous confrontation begins in scene 17, as Donna Elvira and Maturina press simultaneous claims of promised marriage. Like Cicognini\u0026#39;s protagonist, Bertati\u0026#39;s relishes the opportunity to show off his comic talents. As he\u0026nbsp;..."},{"page_id":"PA167","page_number":"167","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, see Felicity Baker\u0026#39;s rich study, \u0026#39;The Figures of Hell in the Don Giovanni \u003cb\u003eLibretto\u003c/b\u003e\u0026#39;, in Dorothea Link and Judith Nagley (eds.), Words About Mozart: Essays in Honour of Stanley Sadie (Woodbridge and Rochester, NY, 2005), pp. 77\u0026nbsp;..."},{"page_id":"PA171","page_number":"171","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e is by now well known.17 But sometimes the seduction has been successful, and sometimes not; sometimes the Don has impersonated her fiance ́ and. 16Some of the more extreme positions are: Anna, mendacious or genuine, guilt-ridden\u0026nbsp;..."},{"page_id":"PA172","page_number":"172","snippet_text":"... \u003cb\u003elibretto\u003c/b\u003e, the state of betrothal considered to be the most important step in the process.21 Zerlina, described as having only an \u0026#39;amante\u0026#39; rather than a fiance ́, is in the midst of the public wedding festivities or procession (whether\u0026nbsp;..."},{"page_id":"PA177","page_number":"177","snippet_text":"... \u003cb\u003eLibretto\u003c/b\u003e\u0026#39;, in Words about Mozart, pp. 94–8. 35In Bertati\u0026#39;s \u003cb\u003elibretto\u003c/b\u003e, the servant uses the Alexander analogy to explain Don Giovanni\u0026#39;s reasons for leaving her. Lawrence Lipking claims that the \u0026#39;printed book\u0026#39; audiences in Mozart\u0026#39;s day\u0026nbsp;..."},{"page_id":"PA190","page_number":"190","snippet_text":"... The Figures of Hell in the “Don Giovanni” \u003cb\u003eLibretto\u003c/b\u003e\u0026#39;) uses the rather light beating of Masetto as proof that Don Giovanni is not a man of violence. 58I believe that Zerlina screams during the Act 1 finale. 190 Elaine Sisman."}],"search_query_escaped":"libretto"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>