Attributing Mozart (i): three accompanied recitatives

In a recent issue of the Cambridge Opera Journal, Dorothea Link has proposed that Mozart may have been the author of an unattributed accompanied recitative that precedes the aria ‘‘Vado, ma dove?,” K. 583, in the Viennese court theatre’s original performing score of Martín y Soler's Il burbero...

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Bibliographic Details
Published in:Cambridge opera journal 2001-11, Vol.13 (3), p.197-237
Main Author: EDGE, DEXTER
Format: Article
Language:English
Subjects:
Arias
Authorship
Authorship attribution
Autographs
Composers
Copyists
Diplomatic & consular services
Husbands
Librettos
Manuscript studies
Music
Opera
Recitatives
Regular Articles
Theater
Violins
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Summary:In a recent issue of the Cambridge Opera Journal, Dorothea Link has proposed that Mozart may have been the author of an unattributed accompanied recitative that precedes the aria ‘‘Vado, ma dove?,” K. 583, in the Viennese court theatre’s original performing score of Martín y Soler's Il burbero di buon cuore. The present article re-examines the case for Mozart's authorship of this recitative in the wider context of Mozart studies as a whole, and through a detailed reconsideration of the source and stylistic evidence. The recitative preceding K. 583 is compared to two other accompanied recitatives with plausible connections to Mozart: an unattributed one that precedes a score of Mozart's aria ‘‘No, che non sei capace,” K. 419, in a Viennese manuscript of extracts from Paisiello’s Fedra; and one that is explicitly attributed to Mozart in the Viennese court theatre's original performing score of a pasticcio based on Guglielmi's La quacquera spirituosa.
ISSN:0954-5867
1474-0621
DOI:10.1017/S0954586701001975