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Don Giovanni
Don Giovanni
Don Giovanni
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Don Giovanni

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This is the complete orchestral and vocal score of Mozart's Don Giovanni, considered by many to be the greatest opera ever written. This edition contains all the music Mozart wrote for Don Giovanni, both for the original version performed in Prague (1787) and the alterations―Don Ottavio's aria "Dalla sua pace," Elvira's aria (and its transposition to D Major) "Mi tradì quell'alma ingrata," Zerlina and Leporello's duet "Per queste tue manine," the cut in the finale ― made for the first Viennese performance six months later, as well as the concert ending of the overture.
The editors, Georg Schünemann and Kurt Soldan, worked directly from Mozart's autograph manuscript and from early copies made under Mozart's supervision, correcting many errors that had persisted since Mozart's time. An extensive commentary lists all vague or controversial elements the editors encountered in the score. In addition the complete Italian libretto and stage directions by Lorenzo Da Ponte and a German translation of the vocal text by Georg Schünemann have also been included.
Do not confuse this with a piano rendering; it is the full orchestral score. In addition to its obvious uses for study, this score is also an indispensable associate for anyone listening to the music. In no other manner can the listener or student keep full awareness of the many elements that make up this opera.
LanguageEnglish
Release dateJun 10, 2013
ISBN9780486317496
Don Giovanni

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  • Rating: 3 out of 5 stars
    3/5
    Interesting as far as opera goes, which is sort of a backhanded insult, but I did enjoy the main character's ruthlessness in getting what (or who) he wanted.

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Don Giovanni - Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

DON GIOVANNI

IN FULL SCORE

DOVER PUBLICATIONS, INC., NEW YORK

Aus rechtlichen Gründen dürfen diese Werke nicht im Gebiet der Bundesrepublik Deutschland und West-Berlin angeboten und/oder verkauft werden.

For legal reasons these titles cannot be offered or sold in the Federal Republic of Germany and West Berlin.

Copyright © 1974 by Dover Publications, Inc.

  All rights reserved.

This Dover edition, first published in 1974, is an unabridged republication of the edition by Georg Schünemann and Kurt Soldan, with German translation of the vocal text by Georg Schünemann, originally published by C. F. Peters, Leipzig, n.d. (editorial matter dated Summer 1941). In the present edition all the preliminary matter, editorial remarks in the score and the Editors’ Commentary (Revisionsbericht), originally in German, appear in a new English translation specially prepared by Stanley Appelbaum.

International Standard Book Number

ISBN-13: 978-0-486-23026-9

ISBN-10: 0-486-23026-0

Manufactured in the United States by Courier Corporation

23026013

www.doverpublications.com

DON GIOVANNI

Composed in 1787. First performance at the Count Nostitz National Theater in Prague on October 29, 1787, under the composer’s direction.

_________________________________________________________

INSTRUMENTATION

2 Flutes (Flauti), 2 Oboes (Oboi), 2 Clarinets (Clarinetti), 2 Bassoons (Fagotti), 2 Horns (Corni), 2 Trumpets (Trombe), 3 Trombones (Tromboni), 2 Kettledrums (Timpani), 1 Mandolin (Mandolino)

Violins (Violini) I & II, Violas (Viole), Cellos (Violoncelli), Basses (Contrabassi)

ON STAGE

In No. 13, Finale: Orchestra I: 2 Oboes, 2 Horns, Violins I & II, Violas, Cellos, Basses

                    Orchestra II: Violins, Cello, Bass

                    Orchestra III: Violins, Cello, Bass

In the Recitative preceding No. 22, Duet: 2 Oboes, 2 Clarinets, 2 Bassoons, 3 Trombones, Cello, Bass

In No. 24, Finale: 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, Cello

CONTENTS

Ouvertura

ATTO PRIMO (FIRST ACT)

No. 1. Introduzione

Donna Anna, Don Giovanni, Commendatore and Leporello

Notte e giorno faticar

No. 2. Recitativo e Duetto

Donna Anna and Don Ottavio

Ma qual mai s’offre, oh Dei

MUTAZIONE (CHANGE OF SCENE)

No. 3. Aria

Donna Elvira, Don Giovanni and Leporello

Ah chi mi dice mai

No. 4. Aria

Leporello

Madamina, il catalogo è questo

No. 5. Coro (Chorus)

Zerlina, Masetto and Chorus

Giovinette che fate all’amore

No. 6. Aria

Masetto

Ho capito, Signor, sì

No. 7. Duettino

Zerlina and Don Giovanni

Là ci darem la mano

No. 8. Aria

Donna Elvira

Ah fuggi il traditor

No. 9. Quartetto

Donna Anna, Donna Elvira, Don Ottavio and Don Giovanni

Non ti fidar, o misera

No. 10. Recitativo ed Aria

Donna Anna and Don Ottavio

Don Ottavio, son morta!

No. 10a. Aria

Don Ottavio

Dalla sua pace la mia dipende

No. 11. Aria

Don Giovanni

Fin ch’han dal vino calda la testa

MUTAZIONE

No. 12. Aria

Zerlina

Batti, batti, o bel Masetto

No. 13. Finale

Zerlina, Don Giovanni, Masetto and Male Chorus

Presto, presto, pria ch’ei venga

Finale (continuation)

Donna Anna, Donna Elvira, Don Ottavio, Don Giovanni and Leporello

Bisogna aver coraggio

MUTAZIONE

Finale (continuation)

Donna Anna, Donna Elvira, Zerlina,

Don Ottavio, Don Giovanni, Leporello and Masetto

Riposate, vezzose ragazze

ATTO SECONDO (SECOND ACT)

No. 14. Duetto

Don Giovanni and Leporello

Eh via buffone

No. 15. Terzetto (Trio)

Donna Elvira, Don Giovanni and Leporello

Ah taci, ingiusto core

No. 16. Canzonetta

Don Giovanni

Deh vieni alla finestra

No. 17. Aria

Don Giovanni

Metà di voi qua vadano

No. 18. Aria

Zerlina

Vedrai, carino

MUTAZIONE

No. 19. Sestetto (Sextet)

Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Leporello and Masetto

Sola, sola in bujo loco

No. 20. Aria

Leporello

Ah pietà, Signori miei

No. 21. Aria

Don Ottavio

Il mio tesoro intanto

No. 21a. Duetto

Zerlina and Leporello

Per queste tue manine

No. 21b. Recitativo ed Aria

Donna Elvira

In quali eccessi, o Numi

MUTAZIONE

No. 22. Duetto

Don Giovanni, Commendatore and Leporello

O statua gentilissima

MUTAZIONE

No. 23. Recitativo ed Aria

Donna Anna

Crudele! Ah no, mio bene!

MUTAZIONE

No. 24. Finale

Donna Elvira, Don Giovanni,

Commendatore and Leporello

Già la mensa è preparata

Finale (continuation)

Donna Anna, Donna Elvira, Zerlina,

Don Ottavio, Leporello and Masetto

Ah dove è il perfido

SUPPLEMENT

  I. Concert Ending of the Overture

 II. Transposition of the Aria No. 21b

III. Cut in the Finale No. 24

Basis of

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