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  • Variations on a theme from Mozart's Magic Flute Op.9

Variations on a theme from Mozart's Magic Flute Op.9 - Fernando Sor

edited by Fabio Rizza

Sheet music

Variations on a theme from Mozart's Magic Flute Op.9 Variations on a theme from Mozart's Magic Flute Op.9
Variations on a theme from Mozart's Magic Flute Op.9

Composer(s):

Fernando Sor

Publisher(s):

Ut Orpheus

Publishernumber:

CH-132

Instrument(s):

Guitar Solo

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Fernando Sor's (Barcelona 1778 - Paris 1839) Variations op. 9 are based on the theme 'Das klinget so herrlich' ('that sounds so splendid'), taken from.. Read more
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Product description

Fernando Sor's (Barcelona 1778 - Paris 1839) Variations op. 9 are based on the theme 'Das klinget so herrlich' ('that sounds so splendid'), taken from the first act of Mozart's Magic Flute. We are in Scene 17: Papageno is running with Pamina, and thanks to a magical chime of bells he manages to stop Monostatos and his slaves who, under the spell of the 'splendid sounds' of the bells played by Papageno, feel an irresistible urge to sing and dance. Massimo Mila writes: This is one of the opera's climaxes, perhaps the highest, where the beneficial virtues of music are celebrated not through Tamino's noble flute, with its Gluckian echoes of the myth of Orpheus, but using a popular, fairground instrument, like the improbable watchmakers' mechanical organs and the Glasharmonika on which Mozart squandered some of his last masterpieces. Only now do we grasp the ultimate , truly profound sense of The Magic Flute, not so much because it is abstruse and portentous, but simply because, in its fresh spontaneity, it is hidden behind the pomp of Masonic intentions. It is the victory of the humble, the poor souls like Papageno, Vienna's common folk, who crowded the Prater of a Sunday, wandering amidst the music of the stalls and rides. Never mind Sarastro, never mind higher wisdom, never mind revelations! Mozart's mind may perhaps be upon these things, but his heart is with Papageno. This theme immediately met with extraordinary success, as is clearly evident from the fact that it was used in over two hundred compositions. There are some twenty versions for guitar alone, including those of Francesco Molino (Douze variations sur l'air: Oh dolce Concento de la Flûte Enchantée du célèbre Mozart op. 31) and Mauro Giuliani ('Variazioni sul Flauto Maggico [sic] di Mozart' from Tre tema [sic] favoriti con Variazioni di M.me Catalani WoO G-3). Sor himself would later use it again in the Six airs choisis de l'Opera de Mozart Il Flauto Magico op. 19. The slight discrepancies between the original version by Mozart and the version used by Sor are usually explained by presenting three hypotheses, none of which necessarily excludes the others. As we can infer from the titles of opp. 9 and 19, Sor always refers to the Italian translation of The Magic Flute, written by Giovanni de Gamerra (1742-1803) for a performance in Prague in 1798, and subsequently published in London in 1811. Gamerra's version, which included recitatives instead of the recited dialogues of the original version, was so well-received that it was even performed in Leipzig. The differences between the theme used by Sor, and Mozart's, can thus be attributed to the difference in the way Gamerras's text scans, relative to the German text by Schikaneder.

Productdetail

Composer(s):

Fernando Sor

Publisher(s):

Ut Orpheus

Publishernumber:

CH-132

Instrument(s):

Guitar Solo

ISBN:

9790215318922

Number:

203062

Theme(s):

Classical

Guitar

Opera

Ut Orpheus

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