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Cos Fan Tutte No. 4 - Duet Ah Guarda Sorella

The document is a musical score for a duet titled 'Ah, guarda, sorella' from Wolfgang A. Mozart's work. It features the characters Fiordiligi and Dorabella as they gaze into portraits of their fiancés. The score includes musical notations and lyrics, indicating the emotional context of the scene.

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0% found this document useful (0 votes)
158 views6 pages

Cos Fan Tutte No. 4 - Duet Ah Guarda Sorella

The document is a musical score for a duet titled 'Ah, guarda, sorella' from Wolfgang A. Mozart's work. It features the characters Fiordiligi and Dorabella as they gaze into portraits of their fiancés. The score includes musical notations and lyrics, indicating the emotional context of the scene.

Uploaded by

IDK-0
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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No.

4 - Duet
"Ah, guarda, sorella"


Scene II
garden on the sea Wolfgang A. Mozart

   

  Andante           
              
 
                                
 

   
dolce

  


             

        
       
(Fiordiligi and Dorabella are gazing into portraits of their fiances)

   
7

            
      

          
        


      


     
11 Fiordiligi:

     


    
  
           
   
Ah, guar da, so

     

                 
          



                
   
  
16

   


       
 
        
rel la, ah guar da, so rel la, guar da,

              
      
    
          
           
   

     

          
 
    
      
            
 
22

  


           
guar da, se boc ca più bel la, se a spet to più no bi le si può ri tro

      
      
  
 
                         
      
                
           
2

    
28


var. si può ri tro var.

         

Dorabella:


               
Os

         
     
    
          
      

      
                 
34


    
     
                                                  
ser va tu un po co, os ser va che fo co ha ne'

                           

      

 
   
      

 
   
    
stacc.

       
                       

        
       
      
39

   


                 
                     
sgiar di, se fiam ma, se dar di non sem bran scoc

              


                      
stacc.

   

                          
             

 
43


car, se fiam ma, se dar di non sem bran scoc car, non


      
                


                   
 

       
3
           
    
49

    
Fiordiligi: a piacere

  
            
Si ve de un sem bian te guer rie ro ed a



            
                         
sem bran scoc car.

     
  
   
           

     
       

     
  

   
55

     
                 
man te.

     


   

 
Si ve de u na fac cia, che al let ta, che al let ta, che al

                              
              

                 

   

        
                


       
61

    

             
                             
let ta e mi nac cia, e mi nac cia, e mi nac

    
 
   

   



         

     
   
 
 cresc.

       
       

    
                         
66

 
Allegro

 
Fiordiligi:

    
                
Fe li ce son i o, fe li ce son i o!

      
 


          
                 
cia Io so no, io so no fe li ce!

           
  
     
               
 

 
cresc. 

  
      
4
   
           
74

    
         
       
Se ques to mio co re mai can gia de si o,

        


     
Se ques to mio co re mai can gia de si o,

   
             

 

      
    
 
       
     

   
 
                
80

     
   
     
            
mai can gia, mai can gia de si o, A mo

    


   
mai can gia, mai can gia de si o, A mo


     
     

 
 

         
    

      
                 

     
        
         

87

 
     
                          
re, A mo re, mi fac cia vi

 


   
    
     
re, A mo re, mi fac cia vi

  
   
 
Adagio a tempo


      
          
        

              
        

  
   
93

  
 
   
      
                   
ven do pe nar, mi fac cia vi ven do pe nar,

     


                     
             
ven do pe nar, mi fac cia vi ven do pe nar, A

    
 
         
      

  
  
5
       
    
100

   
  
             
se ques to mi co re mai can gia de

     


  
          
mo re mi fac cia vi ven do pe nar,

               

 

         
    

 
   

           
       
 
       
107

       

          

si o, A mo re mi fac cia vi ven do pe nar, A mo re mi fac cia vi


    
  
 



      
 mo
         

   
        
A re mi fac cia vi

   
    
            
      
        
   

   
     
         
       
114

 
    
      

       
ven do pen nar, A mo re mi fac cia vi ven do pe nar,

 


 
           
ven do pen nar, se ques to mi


         
 
    

       
       

        
 
121

                
       
 
A

         


  
               
           
co re mai can gia de si o, A mo re mi fac cia vi ven do pe nar, A

         
   
   
   
   
   
          
    
          
    

    

 
6
    

          
128

   

     
mo re mi fac cia vi ven do pe nar, vi ven do pe

                
      




          
mo re mi fac cia vi ven do pe nar, vi ven do pe



           

        

 
      
             


      

                    
      

   
135

   
   
                
nar; vi ven do pe nar, mi fac cia pe nar, mi fac cia pe

  
         
 


             
            
nar; vi ven do pe nar, mi fac cia pe nar, mi fac cia pe

              
     
       
                           

             

               
       
 
143

  
   
                  
nar, A mo re mi fac cia vi ven do pe nar!

 
  


 
              
nar, A mo re mi fac cia vi ven do pe nar!

    
           
  
 
       

                   


cresc.

       


 
                   
               
149

  
            
        
             

    

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