Mozart: Batti, batti, o bel Masetto from Don Giovanni
$5.00 USD
7 pages. Includes recitative (from "Ma se colpa") and full aria.
The first of its kind, and the fourth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Batti, batti, o bel Masetto," Zerlina's aria from Mozart's famous opera Don Giovanni. Young sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the (often just as young) pianist may have to sight-read the fast-moving left-hand cello lines. Pianists with limited practice time may now enjoy playing this aria comfortably, without having to sacrifice the cello's textural contribution or engage in cross-hand acrobatics to play it cleanly.
In this particular reduction, the 6/8 portion's troublesome left-hand scales (originally in the cello part) have been adjusted by one octave and moved into the right hand, which will allow most pianists to play them more cleanly without sacrificing the necessary textural interest that the cello part provides. Due to this adjustment, this reduction has also restored parts of the functional bass line absent in other published reductions.
The first of its kind, and the fourth entry in the Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Batti, batti, o bel Masetto," Zerlina's aria from Mozart's famous opera Don Giovanni. Young sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the (often just as young) pianist may have to sight-read the fast-moving left-hand cello lines. Pianists with limited practice time may now enjoy playing this aria comfortably, without having to sacrifice the cello's textural contribution or engage in cross-hand acrobatics to play it cleanly.
In this particular reduction, the 6/8 portion's troublesome left-hand scales (originally in the cello part) have been adjusted by one octave and moved into the right hand, which will allow most pianists to play them more cleanly without sacrificing the necessary textural interest that the cello part provides. Due to this adjustment, this reduction has also restored parts of the functional bass line absent in other published reductions.