Violoncello 02.

Cavatina: "Se vuol ballare"

(from The Marriage of Figaro, Act 1) W.A. Mozart
(1756-1791)

                    
pizz.
Allegretto


                           
11

     
                            
arco
20

           
                            
29

   
 
                    
38

     
   
                
48

   
  
                          
         
57 Presto


                    
cresc.


67


       
          
    
78

   cresc. 
  
                  
 
93

 
Public Domain; First performance May 1, 1786 at the Burgtheater, Vienna, Austria
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.
To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/.
This engraving done by Marty Strasinger, based on source material available at http://imslp.org.
                     
pizz.

 
104 Tempo I


                                 
arco
115 Presto

       
     
127

2
Violoncello 03. Cavatina: "Porgi, Amor"
Contrabass (from The Marriage of Figaro, act 2)

     
Wolfgang Amadeus Mozart

  
                
             
    
Larghetto

     

                                    

11

 
 

                                 
      
17

    


                                 
      
Solo vc.

     
24

gli altri

             
            
 
tutti

    
33

  

                                  
      
41

            
          
49

   
Cello / Bass 04. Aria: "Voi, che sapete"
(from The Marriage of Figaro, act 2)
Wolfgang Amadeus Mozart

                    
  
Andante con moto

 
Cherubino:
Cherubino

                                               
Voi, che sa pe te che co sa è a

          
pizz.


Violoncelo e Basso

12                        
   
 
              
     

                                        
Che.

     
mor, don ne. ve de te. s'io l'ho nel cor, don ne, ve de te, s'io l'ho nel cor. Quel lo ch'io pro vo,

Vcs.
          

23                           
       
             
       

                                                    
Che.

vi ri di rò; è per me muo vo, ca pir nol so. Sen to un af fet to pien di de sir, ch'o ra è di let to,

Vcs.
                 

35              
        
         
   

   
   
 
     
Che.

                      
                         
ch'o ra è mar tir. Ge lo, e poi sen to l'al ma av vam par, e in un mo men to tor no a ge lar. Ri cer co un

Vcs.
                

46               
                           
                 
     

                               
Che.

           
be ne fuo ri di me non so chi il tie ne, non so cos' è. So spi ro e ge mo sen za vo ler; pal pi to e tre mo sen za sa per. Non tro vo

Vcs.
                   

57                                   
                       

Che.

                                                
     
pa ce not te nè dì, ma pur mi pia ce lan guir co sì. Voi, che sa pe te che co sa è a mor, don ne. ve de te. s'io l'ho nel

          

Vcs.

69                    
                    

                                      
Che.

            
   
cor, don ne, ve de te, s'io l'ho nel cor; don ne, ve de te, s'io l'ho nel cor.

Vcs.
        
Contrabass 05: Duet: "Là ci darem la mano"
(from Don Giovanni, Act 1)
W. A. Mozart
(1756-1791)

               
                         
    
Andante

      


       
                                   
11

         
 

                                           
22

          
  

                   

        
34

   

                     
             
45

                 
               
pizz arco pizz.

    
59

                       
arco
71

 

3

                  
pizz. arco

   
78

 
 

Public Domain; First performance October 29, 1787 at the Teatro di Praga, Prague (Czech Republic, former Kingdom of Bohemia/HRE)
This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.
To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/.
This engraving done by Marty Strasinger, based on source material available at http://imslp.org.
Contrabass 06. Canzonetta: Deh vieni alla finestra
(from Don Giovanni, Act 2)

Lorenzo da Ponte Wolfgang Amadeus Mozart

 
                                 
   pizz.
Allegretto

   
2 3 4 5 6

     

   
                                  
       
7 8 9 10 11 12

    

   
                                  
        
13 14 15 16 17 18

 

23 

                    
                          
19 20 21 22 24

   
                                 

     
25 26 27 28 29 30

    

                                     
            
31 32 33 34 35 36

  
                             
            
  
37 38 39 40 41 42

  

 
          

43 44


Violoncello 07. Aria: "Dalla sua pace"
Contrabass (from Don Giovanni, act 1)

Lorenzo Da Ponte
Wolfgang Amadeus Mozart

       12  
         
 = 76 2
      
3 4 5 6 7 8 9 10 11

 cresc. 

   
 
     
 
 
 
     21

   
 = 84 18
              
     
13 14
16 17 15 19 20

 cresc. 

                
          
 = 76 30
     
22 24 23
25 26 27 28 29 31


    

                    
 = 3876
   
        
32 33 34 35 36 37 39 40 41 42 43

cresc.  

 47   48  
                     
    
44 45 46 49 50 51 52

 
cresc.    cresc. 

              59   60

                 
  
53 54 55 56 57 58 61

cresc.    cresc.

 67  
                 
1. Vc. Solo

  
Tutti Vc./Cb.

 
62 63 64 65 68 69 70 71 72 73 74

 
  
Contrabass 08. Duettino: "Crudel, perche finora?"
(from The Marriage of Figaro, act 3)
Wolfgang Amadeus Mozart

    
              
Andante

   

   
                    
  
9

cresc. 

     


    
                   
19

 

               
     
28

 cresc. 


      
               
38

 
                      

49

  cresc.   

      
                  
60

   

       
      

 
   
67
Recitative

cresc. 
W.A.M. 492.
Contrabasses Act IV
(a garden with two pavilions
to the right and left, night.)

No. 23 - Cavatina

    pizz.
                           

Andante

                                   

8

                                  

17 arco

                   
  
               
28

W.A.M. 492.
Contrabasses 14. Aria: "Il capro e la capretta"
(from The Marriage of Figaro, act 4)

   
                    
No. 24 - Aria

     
Tempo di Menuetto




          
    
        
11

  

      
        
              
20

   

 
                                    
 
29

  
                                  

40

                       
        
50 Allegro

  

                               
        
61

 


                
         
69

cresc.  

    
                 

78

cresc.

                      
          

88


W.A.M. 492.
 343

15. Recitative and Aria: "Deh vieni, non tardar"

(from The Marriage of Figaro, Act 4)
Wolfgang Amadeus Mozart
Violoncellos and Basses

   
No. 27 - Recitative and Aria

               
Allegro vivace assai


Violoncellos

                
                    

Susanna

            
Giun se al fin il mo men to, che go drò sen za af fan no in brac cio all' i dol mi o.

       
9

Vcs.

  
                                   
Sus.
                 

          
Ti mi de cu re! u sci te dal mio pet to, a tur bar non ve ni te il mio di let to! Oh co me

    
18

Vcs.

            
                
                                       
     
Sus.

par che all' a mo ro so fo co l'a me ni tà del lo co, la ter ra e il ciel ri spon da, co me la not te i fur ti miei se con da!

    pizz.
                               
Andante

Violoncellos

               
      
                

Susanna

                
Deh vie ni, non tar dar, o gio ja bel la. Vie ni o ve a mo re

           
 
12

Vcs.

         
                                  
Sus.
      

                                    
per go der t'ap pel la. Fin chè non splen de in ciel not tur na fa ce, fin chè l'a ria è an cor bru na, e il mon do ta ce.

 
21

Vcs.

 

                                      
    
    
Sus.
             

                     
Qui mor mo ra il ru scel, qui scher za l'au ra, che col dol ce su sur ro il cor ri stau ra, qui ri do no i fio ret ti e l'er ba è fre sca,

 
              
arco
31

   
Vcs.

   
        

                                          
Sus.
        

                         
ai pia ce ri d'a mor qui tut to a de sca. Vie ni, ben mi o, tra que ste pian te a sco se, vie ni, vie ni! Ti vo' la fron te in co ro

      
         
41 pizz.

  
  
Vcs.

  
                       
Sus.     
            

    
nar di ro se, to vo' la fron te in co ro nar, in co ro nar di ro se.


51

Vcs.

W.A.M. 492.
Contrebasse Don Giovanni
K.527 Act II, Il Commendatore
Scena XV
              
   
               
Andante (in slow 4) (in slower 2)

   

                        
        
9

 
                

         
16

    
       
    
                                
24

 
                            
           
32

                                     
     
39

 

                                              
         
46

            
                       
53

 
           
          
                       
59


   
                                          
             
65

  
                       
                    
72


              
                          
    
79

        
                            
85 Più stretto

 
           
    
93

   
 
         
         
   
98

   
  
            
      
          
103

 
        
           
 
      
108


                                  
3

  
112 3

     
Allegro

         
molto

       
117
(beat in 2)

    
   
                    
128


 
          
                     
137

2
    
                            
143

      
                  
   
150

             
 
159

 cresc.

  
         
168

3
Contrabass 20a. Finale: "Contessa perdono!"
(from The Marriage of Figaro, act 4)
Wolfgang Amadeus Mozart


           
Andante


 

         
     
13

cresc.  

             

18

dim.   

     
             

23

  

  Allegro assai
                
27

 
