David Fenton:
Could you please cite the Haydn and Gluck operas that have this similiar feature of using an opening overture with a choral movement to conclude? I'm curious. While it's apparent that Mozart wasn't the only composer to do this, I still think it it's a bit unusual.
And just because Mozart tacked on another ending versus the choral version, could have simply been due to the lack of singers/performers for the Academy he gave this performance for. In my mind, it's no different than having or not having clarinets in one of the later Sinfonias. Different venues required different forces.
Thanks so much,
Kim Patrick Clow
On 3/14/06, David W. Fenton <[EMAIL PROTECTED]> wrote:
On 14 Mar 2006 at 14:13, John Howell wrote:
> Inquiring minds still await a K number and perhaps a
> date. How "early" is early? New Grove I has no listing of a
> Symphony with dancing and singing, although the way they break up his
> works it could well be listed under something other than Symphony.
There is no Köchel number for the imaginary choral version, as such a
version never existed.
"Ascanio in Alba" is K111. The instrumental finale that Mozart wrote
in order to create an instrumental symphony from the first 2
movements of the overture was given the number K120 in K1 and the
symphony as a whole is given the number K111a in K6. The New Köchel
is planning to return to the K1 numbers, but I don't know if that
means they'll call the whole symphony K120 or not.
The opera was composed for the fall season of 1771, and the symphony
version is obviously being dated to the same period (given the K
numbers).
--
David W. Fenton http://dfenton.com
David Fenton Associates http://dfenton.com/DFA/
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Kim Patrick Clow
"There's really only two types of music: good and bad." ~ Rossini
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