Notes from the mozart
and well beyond CD booklet:
Although some scholars and performers
question whether or not soloists should embellish repetitions of
phrases in Mozart’s works, the composer himself has left evidence,
particularly apt for K.191, that the general practice of embellishing
was at least allowable if not in fact common in his day.
A particular phrase for the solo
bassoon in the Andante ma Adagio of K.191
m.9-10 is repeated verbatim
in the source material later in the movement m.32-33.
This same phrase is also given twice in the solo vocal line of Mozart’s
aria «Ah se a morir mi chiama» from his opera
Lucio Silla (K.135/xiv) composed two years earlier. Mozart’s
borrowing of his own material would not normally be of much interest,
except that in this case, he later prepared an extensively embellished
version of the aria’s vocal line in which the repetition of
the phrase in question was quite significantly elaborated.
A further example is found in an
embellished version Mozart made (K.293e) of the solo vocal line
of J. C. Bach’s «Cara, la dolce fiamma»
from his opera Adriano in Siria. In Bach’s original
aria and Mozart’s Andante ma Adagio,
there are similar sequential passages m.34-36
in which a phrase is heard plainly once, and then immediately twice
more somewhat lower and altered in harmony, but otherwise the same.
In Mozart’s later version of Bach’s aria, each repetition
in the sequence is embellished in increasingly virtuosic style.
The present recording adopts these
two examples of Mozart’s embellishing style, following his
later version of «Ah se a morir mi chiama»
exactly for the repetition of the borrowed phrase, and paraphrasing
his version of Bach’s «Cara, la dolce fiamma»
for the sequential passage.
© 2004 Michael