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://www.geocities.com/mcmbednarek/ 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: ---------- Duetto - No.5: "Via resti servita" Atto I. Seguito della Scena IV. Marcellina starts an ironic exchange of niceties, but Susanna gives as well as she gets, and in the end it's Marcellina who departs infuriated. As with most pieces I did for "Nozze", the orchestra is here represented by MIDI instrument 49 "String Ensemble 1", Susanna is 74 "Flute", Marcellina 72 "Clarinet". Spatial orientation has Susanna far right, Marcellina far left, high strings slightly left, low strings slightly right. For acoustic balance the part of Marcellina has its volume reduced to about 80%. Details: -------- You can't have a car chase in Figaro, but the next best thing in set pieces is the Cat Fight; this is it. And it's between two sopranos, which must make it musically much more difficult. But Mozart's stage craft lets insults fly in a most convincing fashion. There is no doubt where his sympathy lies: vide the extra pause for Marcellina in bars 14 to 21, and Susanna's triplets in bar 59 and 63 which have no equivalent in Marcellina's part. I don't know why the Ricordi edition doesn't write the chords in the penultimate bar as triplets, because that's what I hear on my recording (see Nozze00.txt); so I changed them accordingly. I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file.