WOLFGANG AMADEUS MOZART LA CLEMENZA DI TITO (arr. for woodwinds and bass by Joseph Tribensee)
COSI FAN TUTTE (arr. for woodwinds and bass by Johann Nepomuk Wendt)
1. Overture 03:14 2. Come ti piace, imponi 03:05 3. Deh, se piacer vuoi05:03 4. Marcia 02:01 5. Ah, perdona al primo affetto 03:20 6. Ah, se fosse intorno al trono 02:18 7. Parto, parto ma tu, ben mio 05:51
1. Overture 03:04 2. E la fede delle femine 01:19 3. Ah guarda, sorella 03:37 4. Bella vita militar 00:54 5. Un'aura amorosa 04:35 6. Una donna a quindici anni 02:58 7. VI, Prendero quel brunettino 02:43 8. Il core vi dono 04:28 9. E amore un ladroncello 02:25 10. Fortunato l'uom 01:10
The AMADEUS ENSEMBLE JULIUS RUDEL, conductor
La Clemenza di Tito and Cosi Fan Tutte
Despite having been written within before Mozart’s death. The two years of each other, Cosi Fan transcription recorded here is by Tutte and La Clermenza di Tito Josef Triebensee, who also present sharp contrasts in style: Cosi transcribed Mozart’s other Prague sparkles with humor, life and joy; opera, Don Giovanni. Mozart’s Clemenza is imbued with a sense of orchestration of the opera itself drama and passion. Stylistically, Cosi places a great deal of emphasis on bears a close resernblance to the the woodwinds, making Clemenza a other Mozart-Da Ponte operas (Don particularly suitable work for Giovanni and Le Nozze di Figaro), Harmonie arrangement. while Clemenza hearkens back to Mozart’s ealiest stage works in the Perhaps this recording of opera seria tradition. Triebensee’s transcription will familiarize more music lovers with this La Clemenza di Tito is one of Mozart’s lesser-known opera’s exquisite last major works and was completed melodies. Johann Nepomuk Wendt, at about the same time as Die who is credited with Harmonie Zauberflöte. WNhile it is possi ble that arrangments of Le Nozze di Figaro Mozart had begun sketching and Die Entführung aus dem Serail, Clemenza as early as 1789, most of probably transcribed Cosi Fan Tutte the opera was written in the summer only shortly after the opera’s 1790 of 1791. It premiered in Prague on premiere at Vienna’s Burgtheater. September 6, 1791, just four months Like Mozart’s other dramatic-comedy
masterpieces, Cosi is filled with wit, joy, anger, melan choly a panoply of human emotions. The full range of these feelings are aptly portrayed by the wind band. -Anthony J. Rudel
THE AMADEUS ENSEMBLE: Leonard Arner, Robert Botti, oboes John Moses, Mitchell Estrin, clarinets Stewart Rose, Debra Poole, horns Frank Morelli, Harry Searing, bassoons Jack Kulowitsch, Alvin Brehm, Richard Frederickson, double bass JULIUS RUDEL, Conductor Leonard Arner, Director
Recorded in Rye, NY, 1985 Produced by Gregory K. Squires for Tonino Productions, Inc. Mastering: Bill Kipper, Masterdisc Corp.