Levarie. Glasow finds them to have been “often specifically gender related.”
Feminine codes were the “fluttery, upbeat (female) syncopation” and the “sen-
suous, triple-meter melodic line and soft female cadences.” The downbeat
stood for male assertiveness. Some interesting ideas—but no explanation of
the fermata emerges.- Heartz, Daniel. “Citations, Reference, and Recall in Così fan tutte.” In
Mozart’s Operas(#1276), 229–253.
Commenting on Steptoe (#1301), Heartz says that Goldoni’s libretto, Le
pescatrici(1752), should be added to the possible sources for Così.Then he
notes various musical references in the opera, to the Figarooverture, to Ent-
führung,to Idomeneo. Along the way he offers many insights about every-
thing else that happens. - Goehring, Edmund J., Jr. “The Comic Vision of Così fan tutte: Literary and
Operatic Traditions.” Ph.D. diss., Columbia U., 1993. 317p.
See also #1268.
Don Giovanni
ASO24 (1979) and 172 (1996), COH (1981), ENOG 18 (1983), Rororo (1981).
- Abert, Hermann. Mozarts “Don Giovanni.”Trans. Peter Gellhorn. London:
Eulenberg, 1976. 138p. MT100 .M91 A18.
Originally published as part of Abert’s 1924 edition of Otto Jahn’s Mozart
biography. It is well known as an early example of close analysis of opera.
Today it reads more like a graceful, erudite, semitechnical program note. Abert
was given to romantic phrases, such as “with terrible force this music storms
across the heights and depths of human fortune”; and “it leads us into a world
so sublime that the heart stands still.” With a few short musical examples. - Henze-Döhring, Sabine. “Opera seria, opera buffa, und MozartsDon Gio-
vanni.” Analecta musicologica 24 (1986): 1–274.
A journal volume in two parts, the first made up of writings on several com-
posers, the second containing essays on dramaturgy in Don Giovanni.
Included in part 1: “Musikalische Exposition des Hauptkonflikts: Niccolò
Jommellis Attilio Regolo,” “Transparenz des dramatischen Entwicklung-
sprozesses: Niccolò Jommellis Armida abbandonata,” “Vom Affekt zum
‘Gefühl’: Gian Francesco de Majos Ipermestra und Adriano in Siria,”
“Mozarts Idomeneo,” “Exposition und Integration verschiedener caratteri
beim frühen Piccinni,” “Musikalisches ‘In-Szene-Setzen’ phantastischer Hand-
lungsmomente beim frühen Paisiello,” “Exposition musikalisch-dramatischer
Zusammenhänge durch Integration der ‘Nummern’: Paisiellos Il barbiere di
Siviglia,” “Anfänge musikalisch-szenischen Gestaltens: Paisiellos Il re Teodoro
in Venezia,” and “Dan Finale des IV. Aktes von Mozarts Le nozze di Figaro.”
On Don Giovanni(p.136–260) Henze-Döhring presents a measure-by-
measure description of the work. Although musical as well as textual elements
are carefully identified, the result is a long microstructural study, with little
attention to macrostructure. Indeed, the author has trouble finding the formal
250 Opera