The work: --------- Le Nozze di Figaro ossia la folle giornata (KV 492) Dramma giocoso in quattro atti (Burgtheater Vienna, 1-May-1786) (The Marriage of Figaro) by Wolfgang Amadeus Mozart (*27-Jan-1756 Salzburg, +5-Dec-1791 Vienna) Libretto by Lorenzo da Ponte (Emanuele Conegliano) (*10-Mar-1749 Ceneda, +17-Aug-1838 New York) based on the comedy "Le mariage de Figaro" (Paris, 1784) by Beaumarchais (Pierre Augustin Caron) (*24-Jan-1732 Paris, +19-May-1799 Paris) Transcribed from G. Ricordi & C. Editori, Milano 1985 by Michael Bednarek http://mcmbednarek.tripod.com/ Background: ----------- The score I used is much more than a piano excerpt; in fact, I'm convinced that some parts are unplayable: it really is a condensed orchestral score. I transcribed these pieces for the pleasure of seeing W.A. Mozart at work and, my own practical instrumental skills being limited, making the sounds come to live. I'm grateful to the author of "Mozart", a notation program like no other in its very pleasing method of using the computer keyboard economically to enter a musical score. The piece: ---------- Aria - No.4: "La vedetta, oh la vendetta!" (Basso) Atto I, Seguito della Scena III. Dr Bartolo has just been asked by Marcellina to help her in her efforts to derail Figaro's and Susanna's marriage: she has a promissory note from Figaro obliging him to marry her, Marcellina. Figaro once aided the Count's pursuit of Rosina -the Countess-, much to Bartolo's chagrin who fancied her as well, so now he sees an opportunity for revenge. As with most pieces I did for "Nozze", the orchestra is represented by MIDI instrument 49 "String Ensemble 1"; Dr Bartolo is 58 "Trombone". Spatial orientation has the high strings left, low strings right, Bartolo to the left. Details: -------- The music in No.4 expresses Bartolo's anticipation of his revenge. Strong, clear chords mark his intentions, nowhere more than in bar 46-48. On the other hand, he is not exactly young any more (lots of rest bars in the first half), and even when he gets excited (bars 41ff and 58ff), his melodic range is severely limited. Moreover, the orchestral figures in bars 41ff and especially in bar 53 seem to be a laughing comment on Bartolo's thoughts; two phrases are particularly striking: bar 49 shows how Bartolo's and Marcellina's plan will collapse, and the mocking tone of bars 3 and -identical- 82. Finally, after repeating four times that Figaro will fall (bars 71-93), he repeats it another three times: and each time we believe it less. There are a number of grace notes which had to be explicitly written; they are marked in the score. The staccato in bars 3, 82 and 56ff is mine; so are all dynamics in the voice. The fermate in bars 29 and 72 are frequently not observed, so I didn't either. Bars 87-92 are really written as half-notes (minims) with 16th (semiquaver) beams (what's the name for this, please?). I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file. April 2003: MOZART 7 offers much improved treatment for grace notes, tremolo, and re-iteration. So I re-wrote this piece, saving one full page in the process. MOZART 7 also allows much more sophisticated handling of notes on a sub-staff (see bars 23ff & 66ff).