![]() Aria Maestosa is an open-source (GPL) midi sequencer/editor. The application comes in multiple languages, you simply need to pick the one that works for you. It sports a really nice graphical interface with all tools at hand. The application doesn't take long to install and it doesn't come with a complicated setup that you would need to complete before you can actually use its features. It sports a really intuitive graphical interface with a familiar-looking layout. It comes with lots of nice features and options that will surely come in handy. This work, in turn, became a duet between Wolfgang and Leopold Mozart in Nyman's opera Letters, Riddles and Writs titled "Profit and Loss.X-AriaMaestosa is a lightweight application that you could use in order to edit and play MIDI tracks. It is built upon, and then varying, the first fifteen bars. The aria is the basis of Michael Nyman's In Re Don Giovanni (1977), his first work for the Michael Nyman Band. Romanticism interpreted the obsession expressed in the catalogue as a longing for the absolute. ![]() According to Massimo Mila, "this Commedia dell'arte gag (which used to be accompanied by the gesture of unrolling the catalogue's scroll towards the audience) had incalculable consequences in determining the romantic interpretation of Don Giovanni's character". Some commenters have found that several devices in the text and the music manage to convey a universal meaning, something beyond a simple, humorous list of women: for instance, Luigi Dallapiccola remarks that the line "Cento in Francia, in Turchia novantuna", breaks the rhythm of octosyllables and so illuminates the whole aria. Kierkegaard finds in this aria the true epic significance of the opera: condensing in large groups countless women, it conveys the universality of Don Giovanni as a symbol of sensuality and yearning for the feminine. The comic sides of this aria have dramatic and ominous undertones. ![]() He conjectures that the number 1003, the number of Spanish women seduced by Don Giovanni, might be a last remnant of the original legend about Don Giovanni (or Don Juan) moreover, the number 1003 being odd and somewhat arbitrary suggests in Kierkegaard's opinion that the list is not complete and Don Giovanni is still expanding it. ![]() Kierkegaard discusses the aria in the section "The Immediate Stages of the Erotic, or Musical Erotic" of his Either/Or. In Gazzaniga's opera, the aria in which Don Giovanni's servant, Pasquariello, describes his master's catalogue of lovers to Donna Elvira begins: The most immediate forerunner (premiering in 1787, a few months before Mozart's Don Giovanni) was the opera Don Giovanni, o sia Il convitato di pietra composed by Giuseppe Gazzaniga to a libretto by Giovanni Bertati. The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter summarizing the number and occupations of Don Giovanni's lovers, while in the second, an Andante con moto in 3/4, in the style of a polonaise (with a melody similar to that of the Larghetto of Mozart's earlier Quintet for Piano and Winds), he describes his approaches and preferences, while Donna Elvira presumably listens in horror.Ī corresponding scene in which Don Giovanni's servant expounds the catalogue of his master's lovers was already present in several versions of Don Juan's story, in opera, theatre and Commedia dell'arte: probably the initiator was a version of Il convitato di pietra ( The Stone Guest) attributed to Andrea Cicognini.
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