Explains how Mozart's music for Le Nozze di Figaro, Don Giovanni and Cosi Fan Tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another.
Explains how Mozart's music for Le Nozze di Figaro, Don Giovanni and Cosi Fan Tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another.
Charles Ford is an associate fellow of the Institute of Musical Research, University of London, UK
Inhaltsangabe
List of Figures and Tables List of Music Examples Notes on the Text and Acknowledgements Part I. Overtures 1. Introduction 2. Enlightenment as Negative Freedom 3. Enlightened Music Part II. Masculine Music 4. Music of Enlightened Masculinity 5. Angry Masculine Music 6. Libertinage and Musical Libertinage 7. The Enlightenment's Legitimation of Feelings 8. Sensitive Masculine Music Conclusions to Part II: The Differentiation of Masculine Music Part III. Feminine Music 9. Music of Enlightened Femininity 10. Sorrowful Feminine Music 11. Hysterical Feminine Music 12. Music of Feminine Moral Frailty 13. The Musical Ridicule of Female Intentions 14. Two Maids' and a Peasant Girl's Music Conclusions to Part III: The Differentiation of Feminine Music Part IV. Seductions 15. Simple Musical Seductions 16. Complex Musical Seduction: Fiordiligi and Ferrando Part V. Finales 17. Five Finales 18. Don Giovanni and the Stone Man 19. Kant Sade and Don Giovanni 20. Così fan tutte Act II Finale 21. The Futures of the Operas Bibliography Music Examples Index
List of Figures and Tables List of Music Examples Notes on the Text and Acknowledgements Part I. Overtures 1. Introduction 2. Enlightenment as Negative Freedom 3. Enlightened Music Part II. Masculine Music 4. Music of Enlightened Masculinity 5. Angry Masculine Music 6. Libertinage and Musical Libertinage 7. The Enlightenment's Legitimation of Feelings 8. Sensitive Masculine Music Conclusions to Part II: The Differentiation of Masculine Music Part III. Feminine Music 9. Music of Enlightened Femininity 10. Sorrowful Feminine Music 11. Hysterical Feminine Music 12. Music of Feminine Moral Frailty 13. The Musical Ridicule of Female Intentions 14. Two Maids' and a Peasant Girl's Music Conclusions to Part III: The Differentiation of Feminine Music Part IV. Seductions 15. Simple Musical Seductions 16. Complex Musical Seduction: Fiordiligi and Ferrando Part V. Finales 17. Five Finales 18. Don Giovanni and the Stone Man 19. Kant Sade and Don Giovanni 20. Così fan tutte Act II Finale 21. The Futures of the Operas Bibliography Music Examples Index
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