ARIA TAMINO PDF

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The aria takes place in act 1, scene 1, of the opera. Prince Tamino has just been presented by the Three Ladies with an image of the princess Pamina, and falls instantly in love with her. The words of "Dies Bildnis" were written by Emanuel Schikaneder , a leading man of the theater in Vienna in Mozart's time, who wrote the libretto of the opera as well as running the troupe that premiered it and playing the role of Papageno.

There are fourteen lines of poetry, which Peter Branscombe described as "a very tolerable sonnet. Ja, ja, die Liebe ist's allein.

This image is enchantingly lovely, Like no eye has ever beheld! I feel it as this divine picture, Fills my heart with new emotion. I cannot name my feeling, Though I feel it burn like fire within me, Could this feeling be love? It is love alone. Oh, if only I could find her, Oh, if only she were already standing in front of me, I would, I would, with warmth and honor.

What would I do? Full of rapture, I would press her to this glowing bosom, And then she would be mine forever! The metre is iambic tetrameter , [2] which is the metre Schikaneder used throughout most of The Magic Flute. David Freedberg offers an appreciation of Schikaneder's text; it "describes in extraordinary detail something of the mental movements that one can imagine accompanying the revelation of the picture. Tamino's heart is stirred, and then more powerfully so; he cannot name the emotion, he calls it love.

Thus identified, the sentiment grows stronger; he moves from beautiful picture to the beautiful woman represented on it. Tamino is overwhelmed with a sense of her potential presence, her potential liveliness. He speaks of pressing her to his breast, and he wants to possess her forever. The aria is scored for modest forces: two clarinets , two bassoons , two horns , the usual string section , and the tenor soloist.

Mozart's musical setting mostly follows the scheme of Schikaneder's poem. There is an opening section in E-flat corresponding to the first quatrain, a modulation to the dominant key of B-flat for the second quatrain, a chromatic and modulating passage for the first tercet, and a return to E-flat for the last.

Both Branscombe and Kalkavage have suggested that Mozart's arrangement of keys embodies a variety of sonata form , with the standard elements of exposition, development, and recapitulation. Thus, in the first two quatrains the music sets forth the tonic key and moves to the dominant exposition ; the exploration of a variety of keys in the first tercet forms a development; and the reassertion of the tonic in the second tercet forms a recapitulation. Branscombe calls the latter a "vestigial recapitulation", since only some of the material of the exposition in particular, not the opening is repeated there.

The orchestra for the most part plays a discreet accompaniment to the soloist. There is a solo for the clarinets between the first and second quatrains, and the first violins play a thirty-second note motif , evoking Tamino's surging emotions, in the third section.

The key of the aria is E-flat major. This is the home key of The Magic Flute the opera begins and ends in this key , but this may have nothing to do with Mozart's key choice.

Neangir immediately falls in love with her, is promised her hand in marriage, and agrees to rescue her. According to Simon Keefe , the striking opening notes of the singer's part were inspired by an earlier aria, "Welch' fremde Stimme", composed by Benedikt Schack for the collectively-created opera Der Stein der Weisen "The philosopher's stone". The resemblance is hardly likely to be accidental, since Mozart himself contributed music to the same opera, which was in the repertory of Schikaneder's company prior to The Magic Flute.

Der Stein der Weisen was in many respects a rough draft for The Magic Flute Keefe , and the device of having tenor Schack begin a lyric aria with "a soaring high G that immediately descends in scalar motion" might be regarded as having passed its tryout in Der Stein der Weisen. Hermann Abert offered background to the work thus: it "deals with a theme familiar not only from fairytales but also from French and German comic operas, namely the love of a mere portrait, a true fairytale miracle that music alone can turn into a real-life experience.

Few, if any, experiences lend themselves to musical treatment as much as the mysterious burgeoning of love in a young heart. It was an experience that already preoccupied Mozart's attentions in the case of Cherubino. Now, of course, we are no longer dealing with an adolescent but with an already mature young man.

Moreover, Tamino does not experience love as a state of turmoil in which all his senses are assaulted, as is the case with Count Almaviva , for example, but nor is it a magic force that paralyses all his energies, as it does with Don Ottavio.

Rather, it is with reverent awe that he feels the unknown yet divine miracle burgeoning within him. From the outset, this lends his emotions a high degree of moral purity and prevents him from becoming sentimental. These and similar melodic remembrances are not to be regarded as leitmotifs in the Wagnerian sense but as partly unconscious echoes of musical ideas that were in Mozart's mind throughout the composition of the opera. Oh what happiness! Though repeated elsewhere, the opening notes of "Dies Bildnis" do not recur in the aria itself.

Spike Hughes writes, "That rapt opening phrase does not occur again in this aria, and so has a remarkable effect of expressing that unforgettable but unrepeatable moment of love at first sight. From Wikipedia, the free encyclopedia. In terms of length and stanza structure Branscombe is correct, but a rhyme scheme of paired couplets is unusual for a sonnet; see Sonnet for discussion. Tamino's reply is "Pamina mein! The following are listed in the order they occur the score.

Abert also mentions cases not in the Act 2 finale, and in Mozart's earlier operas as well. Das Labyrinth. The Magic Flute musical.

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