A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart

By Leopold Mozart

This is often easily a beautiful publication! it really is like having a track lesson from Leopold Mozart. even supposing i don't play the violin, examining and rereading this booklet has performed extra to enhance my classical taking part in (woodwinds) than the other unmarried task (except after all practicing). It additionally offers a fully breathtaking view of Mozart's father's character and musical tastes. this can be a "must" learn for all musicians. I quite suspect it's the oldest song guide e-book nonetheless in print!

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Additional resources for A Treatise on the Fundamental Principles of Violin Playing (Oxford Early Music Series)

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19 (Countess) ~. r fam - mi or cer·cer da u - - - namia ser-vaa·i -tal Almaviva, too, speaks in his aria about his servo, though in much cruder terms ("un viI ogetto"); this parallelism is symptomatic of the fixed social bond between Count and Countess. Viewed in the light of the preceding recitative, the dramatic significance of "Dove sono" has been curiously undervalued. Even Dent and Newman consider the aria a set piece. 7 Actually, what happens here is, socially speaking, the most sensational scene of the opera.

Its preceding recitativo accompagnato shows how much the Countess feels the intended travesti as a real humiliation. There is no question of the traditional lighthearted atmosphere of the commedia delf arte, from which this dramatic device is originally derived. On the contrary, the complaint at the end of the recitative clearly expresses class consciousness (ex. 4). ,r EXAMPLE 4 No. 19 (Countess) ~. r fam - mi or cer·cer da u - - - namia ser-vaa·i -tal Almaviva, too, speaks in his aria about his servo, though in much cruder terms ("un viI ogetto"); this parallelism is symptomatic of the fixed social bond between Count and Countess.

Er ~ Ie : Andante ""-:-f ~ ~ b I~ I~ 10 ,&& 6 The occurrence of the same passage (including the bass) in the Vienna duet of LeoporeUo and Zerlina (K. 540b, b. 46-7 and 72-3) is evidence of the low-class character of the melody. 24 PART I: MOZART Here we see the Count in his true colours: a feudal nobleman parading with enlightened ideas which cover his frivolities. The Countess. Opposed to the tragic role of the Count is the dramatic part of his spouse. This is all the more remarkable since she is predestined, by her sex and high position, to a passive attitude.

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