Mozart on harpsichord

[wgk (Wolfgang Knauss)]

Delightful indeed!!!
WGK

[Pickett (David Pickett)]

@domenico.statuto

@Pickett

On the other hand, I definitely prefer the incisive sound of the harpsichord in secco recitative as late as Mozart ( in Se vuol ballare for instance it sounds just right to me).

I’d say even much later than Mozart, at least until all Rossini.

Yes – and let’s not forget Stravinsky’s Rake’s Progress!

David

[alvisezuani (Lewis Jones)]

Regarding the transition from harpsichord to pianoforte in opera continuo, at the King’s Theatre, Haymarket, London, for example, where Michael Kelly (who had sung for Mozart in Le Nozze di Figaro in 1786) was Acting Manager, the key season was 1805-06, while Giacomo Gotifredo Ferrari was the main keyboard accompanist. Not everyone approved at first. As press reviews convey, the harpsichord, which still had some adherents, was briefly reinstated, but after a few performances the pianoforte returned. By Rossini’s time, the harpsichord was a thing of the past in fashionable theatres.

[FrankMento]

Concerning Rossini, there is an aria to be accompanied by the harpsichord in “Il barbiere di Siviglia”. It was to be sung in the “old” style to voluntarily produce a comic effect.

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[domenico.statuto]

@FrankMento

Concerning Rossini, there is an aria to be accompanied by the harpsichord in “Il barbiere di Siviglia”. It was to be sung in the “old” style to voluntarily produce a comic effect.

I am sure the score says “piano forte”.
However I remember Rossini’s recitatives were usually accompanied by the “spinetta”, which of course was a harpsichord. I’ll try to find the sources.

Ps This evening I finally attended a Don Giovanni performance where the recitatives were accompanied by a harpsichord. The only source of solace of the entire performance.

[FrankMento]

Domenico, I only saw the opera once a long time ago, and if I’m not mistaken, the harpsichord was used only once to accompany the Count, or someone who sang pretentiously in the “old” style. The goal was to make the audience laugh. I don’t know the score however.

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[domenico.statuto]

@FrankMento

Domenico, I only saw the opera once a long time ago, and if I’m not mistaken, the harpsichord was used only once to accompany the Count, or someone who sang pretentiously in the “old” style. The goal was to make the audience laugh. I don’t know the score however.

The scene is the Count is disguised as a teacher of singing, he sits at the piano (often a harpsichord is used instead on stage) while Rosina sings. Bartolo falls asleep due to that “boring” new music, so the two lovers can exchange their words of love.
When Bartolo wakes up, says the new music is boring and the music of his youth was much better, so he sits at the piano (or harpsichord) and sings an old stile arietta.

So the two use the same instrument for the new and the old style arias.
In the score, as per Alberto Zedda’s critical edition, is written “piano forte”.
But neither the piano nor the harpsichord are actually used in the score, it’s just a mocking. The two arias are accompanied by the orchestra.

[FrankMento]

Oh, I see. Thank you, Domenico. Buona giornata !

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