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 [mb@tgm.com.au] 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: ---------- Cavatina - No.23: "L'ho perduta, me meschina" (Mezzo-Soprano) Atto IV, Scena I. Gabinetto. Barbarina searches in the castle's garden for the needle which was attached to the letter from the Countess and Susanna (No.20) to the Count. As with most pieces I did for "Nozze", the orchestra is represented by MIDI instrument 49 "String Ensemble 1"; Barbarina, a mezzo-soprano, is 72 "Clarinet". Spatial orientation has the high strings left, low strings right, Barbarina in the middle. Details: -------- The tempo of this piece varies considerably between different conductors, which is no surprise given the slightly contradictory labels of "Cavatina", which suggests an allegretto, and the explicit "Andante" instruction in the score. The broken chords in the low strings, fitting for a Cavatine, sound much more convincing at an allegretto pace; however, the lamenting text and the key of F minor (the only aria in a minor key in the whole opera) are the reasons for "Andante". Apropos key: It is amazing how in this short piece (36 bars) the key as written (four flats) is varied, including the C major chord at the end of the introduction and at the very end again. Barbarina is certainly not a very full role in this opera, and this aria is the most un-developed piece one is ever likely to encounter. Two themes, one sighing, one lamenting, have just been properly introduced by bar 30, and then, with four recitativo phrases, it's over. No wonder most singers introduce plenty of held notes, fermate and other tricks into the roughly 16 bars that make up their part. I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file.