COSI FAN TUTTE for reduced orchestra

CosĂŹ Fan Tutte ossia La Scuola degli Amanti KĂśchel listing 588

Commedia per musica in due atti Poesia di

Lorenzo Da Ponte Musica di

W.A. Mozart

Arranged for an ensemble of 13 instruments by

Ed Windels

I Strumenti 1 Flauto 1 Oboe 1 Clarinetto in Siď Ś, La e Do 1 Fagotto 2 Corni 1 Tromba Piano 2 Violini 1 Viola 1 Violoncello 1 Contrabasso

Š 2014 by Ed Windels All rights of performance, sale, distribution, reproduction, recording and transmission exclusively reserved.

Published by

Music Publishers, LLC, New York Library of Congress Registration Number: Pau3-771-602

Personnagi Fiordiligi Dame ferraresi e sorelle Dorabella abitanti in Napoli

Soprano

Ferrando

Tenore

Guglielmo

amanti delle medesime

Despina cameriera Don Alfonso vecchio filosofo

Soprano

Baritono Soprano Basso

Cori di soldati, di servi, e di marinai

La scena si finge in Napoli.

Table of Contents Ouvertura

................................................................................................. 1

1.

Terzetto Recit.

La mia Dorabella capace non è... .......................................................................... 15 Fuor la spada: ..................................................................................................... 21

2.

Terzetto Recit.

È la fede delle femmine come l’arabe fenice… ......................................................... 22 Sciocceherie di poeti ............................................................................................. 25

3.

Terzetto

Una bella serenata far io voglio alla mia dea… ..................................................... 27

4.

Duettino Recit.

Ah guarda, sorella! ............................................................................................. 32 Mi par, che stamattina volentieri farei la pazzarella… .......................................... 39

5.

Aria Recit.

Vorrei dir, e cor non ho!. ....................................................................................... 40 Stelle! Per caritá, signor Alfonso, non ci fate morir. ............................................... 43

6.

Quintetto Recit.

Sento, oh Dio, che questo piede… .......................................................................... 44 Non piangere, idol moi! ........................................................................................ 54

7.

Duettino Recit.

Al fato dàn legge quegli occhi vezossi… ................................................................. 55 La commedia è graziosa e tutti due fan ben la loro parte. ......................................... 57

8.

Coro

Bella vita militar! ................................................................................................ 57 Non v’è più tempo, amici. ..................................................................................... 64

Atto Primo

Recit.

9.

Quintetto

10. Coro

Di scrivermi ogni giorno… .................................................................................. 65

Recit.

Bella vita militar! ............................................................................................... 68 Dove son ? Son partiti. ....................................................................................... 72

11. Terzettino Recit.

Recit.

Soave sia il vento, tranquilla sia l’onda… ............................................................. 73 Non son cattivo comico… .................................................................................... 77 Che vita maledetta è il far la cameriera ! ............................................................................ 78

12. Recit. ed aria Recit.

Ah, scostati! ~ Smanie implacabile che m’agitate… ............................................... 79 Signora Dorabella, Signora Fiordiligi, ditemi… ...................................................... 89

13. Aria Recit.

In uomini, in soldati, sperate fedeltà? .................................................................... 91 Che silenzio ! Che aspetto di tristezza… .............................................................. 97

14. Sestetto Recit.

Alla bella Despinetta vi presento, amici miei… .................................................... 100 Che sussuro! Che strepito! ................................................................................ 121

15. Aria

Come scoglio immoto resta… ............................................................................. 125 Ah, non partite ! Ah, barbare, restate!.................................................................. 136

Recit.

16. Aria

Non siate ritrosi, occhietti vezzosi… ................................................................... 137

17. Terzetto Recit.

E voi ridete? Certo, ridiamo! .............................................................................. 141 Si può sapere un poco la cagion di quel riso? .......................................................... 144

18. Aria

Un’aura amorosa del nostro tesoro ..................................................................... 146 Oh, la saria da ridere! ....................................................................................... 150

Recit.

19. Finale

Ah, che tutta in un momento si cangio la sorte mia! ............................................. 155 Si mora, sì, si mora onde appagar le ingrate! ......................................................... 158 Giacchè a morir vicini sono quei meschinelli… .................................................... 164 Eccovi il medico, signore belle! ............................................................................ 175 Dove son? Che loco è questo? .............................................................................. 183 Dammi un bacio, o moi tesoro… ........................................................................ 192

Atto Secondo Recit.

Andate là, che siete due bizzarre ragazze! ............................................................. 219

Recit.

Una donna a quindici anni… ............................................................................. 222 Sorella, cosa dici? ............................................................................................... 230

21. Duetto Recit.

Prenderó quel brunettino… ................................................................................. 232 Ah, correte al giardino, le mie care ragazze! ......................................................... 238

22. Duetto con coro Recit.

Secondate, aurette amiche… ............................................................................... 239 Il tutto deponete sopra quei tavolini… ................................................................. 242

23. Quartetto Recit.

La mano a me date, movetevi un po’! ................................................................... 243 Oh che bella giornata! ........................................................................................ 251

24. Duettino Recit.

Il core vi dono, bell’idolo moi; .............................................................................. 254 Barbara! Perchè fuggi? ..................................................................................... 261

25. Aria

Ah, lo veggio, quell’anima bella… ....................................................................... 263

26. Recit. e rondo Recit.

Ei parte… senti… ah no! ~ Per pietà, ben moi, perdona… .................................... 272 Amico, abbiamo vinto! ...................................................................................... 286

27. Aria

Donne mie, la fate a tanti… ............................................................................... 291

28. Recit. e cavatina Recit.

Recit.

In qual fiero contrasto… ~ Tradito, schernito, dal perfido cor! .............................. 301 Bravo! Questa è costanza. ................................................................................. 307 Ora vedo che siete unda donna di garbo. ................................................................ 308

29. Aria Recit.

È amore un ladroncello, un serpentello è amor. ..................................................... 311 Come tutto conguira a sedure il moi cor! .............................................................. 318

30. Duetto Recit.

Fra gli amplessi in pochi istanti… ...................................................................... 321 Ah poveretto me, cosa ho veduto! .......................................................................... 333

31. Terzetto Recit.

Tutti accusan le donne… .................................................................................... 335 Vittoria, padroncini! .......................................................................................... 337

32. Finale

Fate presto, o cari amici… ................................................................................. 338 Benedetti i doppi coniugi e le amabili sposine! ....................................................... 344 Tutto, tutto, o vita mia, al mio foco or ben ripsonde. .............................................. 354 E nel tuo, nel mio bicchiero… ............................................................................. 356 Miei signori, tutto è fatto; ................................................................................... 358 Bella vita militar! ............................................................................................. 365 Sani e salvi, agli amplessi amorosi… .................................................................. 372 Ah, signor, son rea di morte… ............................................................................ 380 Vingannai, ma fu l’inganno… ............................................................................ 386 Fortunato l’uom che prende ogni cosa pel buon verso… .......................................... 390

20. Aria

Editor’s Notes The goal of this arrangement – reducing to thirteen instruments Mozart's original orchestral complement of approximately 40 players1 – was to create an intentionally chamber music version of the original orchestral texture: something small-scale and intimate that could, as suggested by the original inspirator for my edition of Le Nozze di Figaro, be performed in a living room and not feel overwhelming. The goal was to retain the overall character and timbre of the original, particularly in the designation of lead voices, while optimizing the distribution of timbres, exploiting and highlighting the more intimate, exposed character of the smaller ensemble: to fundamentally rethink the piece as chamber music rather than attempting to mimic or fake the sound of a full orchestra.

Cosi fan tutte presents a particular challenge for a reduction such as this: the sparsity of the reduced ensemble mitigates again retaining Mozart’s enriched sonic palette via lower bassoons and divided viola, and the prominent role he accords the trumpets, frequently substituting them for the horns in blend with the wind ensemble. For which reason I have retained one trumpet in the ensemble. Where feasible, I have retained or readjusted much the viola divisis as doublestops, and leave it to the individual player to attempt these as they see fit.

The large-scale, martial nature of the timpani rendered them inappropriate for this conception of the ensemble, but they are represented in the piano – the choice of which instrument was made due to its ubiquity, but other keyboard options could certainly be used. In addition, I have frequently untethered the bassoon from the line of the lower strings and utilized it to enhance the woodwind harmonies. I've also occasionally silenced the double bass to allow the cello a more intimate delivery of the bass line. I've reduced a number passages for the two horns in octaves to a single instrument: the two horn parts can, if necessary, be reduced to one. In other instances bolstered the harmonic structure by utilizing some horn notes that Mozart would not have written, both due to his strict principles of voice leading and the generally conservative view of the notes available to players of his time. This potentially precludes the use of natural instruments for these parts, should anyone feel inclined to go the original-instrument route. To compensate for the loss of sonic bloom endemic to the smaller forces, I have added some double stops in the lower strings.

This arrangement is based on two assumptions for performance. The first is a spatially and acoustically appropriate performance space. The second is a body of particularly powerful string players using particularly resonant instruments.

For clarity and ease of legibility, I have adopted modern practices of score layout. The clarinet is written in the same alteration of instruments as Mozart's original, though the player is certainly free to use just one instrument and transpose if they feel so inclined. I have also retained the original crooked notation of the two horn parts and the trumpet.

The material herein is based on the critical edition of the opera issued by the International Mozart Foundation in 2006. The notes, dynamics, articulations, and phrasing are all Mozart’s, and the text and stage directions all correspond to the material in the critical edition. This edition represents the complete score of the original 1790 premiere in Vienna, including alternate arias for Ferrando in Act 2.

E. Windels

1

Two each of flutes, oboes, clarinets, bassoons, horns, trumpets and timpani, plus a keyboard and a string section that current scholarship estimates would have numbered around 12-15 players.

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