![]() ![]() ![]() Here, the repeated rhythmic figure has been double-dotted (the upbeat is played shorter and later than in Mozart’s version). For the piano part of this cellofun version, some of those “p” indications have been suppressed in order to maintain the high energy level, while others have been changed to”f” (for example the very first bar of the piano introduction).Īnother change that has been made – rhythmic this time – is in the passage between bars 53 and 63. Mozart often writes “p” as the dynamic for the orchestral accompaniment, but this is probably just to avoid the orchestra covering the singer. Some interpretative changes have however been made. The piano part has of course needed to be rewritten in the new key, but no other note modifications apart from the key transposition have been made for this cello transcription. Transposed into F# minor, the aria actually lies very well for the cello because now we can use our natural harmonics in the famous, excruciatingly high (for the singer), arpeggio passages. This is not at all the delightful, charming music that we often associate with Mozart! We would in fact normally associate this type of murderous hot-blooded fury with Verdi and Italian opera tragedies, rather than with a Germanic Mozartian fairytale fantasy about a magic flute! kill him, or you will no longer be my daughter” etc. ![]() The title of this aria in german is “Hell’s Vengeance” (Der Hölle Rache) and it certainly helps our interpretation to know the singer’s words: From the opera “The Magic Flute” here is one of Mozart’s most dramatic and well-known opera arias, transcribed for cello with piano accompaniment. ![]()
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