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Selected Songs and Arias for Voice and Piano (High Voice): Book, Voice

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Selected Songs and Arias for Voice and Piano (High Voice) Cover Image

Selected Songs and Arias for Voice and Piano (High Voice): Book, Voice

Incl. 2 Duets (SBar, SB), 2 Terzets (STB) and Quartet (STTB)

By Wolfgang Amadeus Mozart / ed. Hans Joachim Moser

Item: 98-EP4699A

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Additional Details
Series: Edition Peters
Publisher: Edition Peters
Page Count: 128
ISBN10: 0-01-403127-2
ISBN13: 979-0-0140-3127-5
SKU: 98-EP4699A

More about this title

About the Composer: Wolfgang Amadeus Mozart

Mozart composed across every major genre during his brief 35 years, leaving behind a catalog of over 600 works that remain central to the classical repertoire. His vocal writing is characterized by crystalline melody, harmonic sophistication, and an instinctive understanding of the human voice across its full range. For singers and teachers, Mozart's output represents both a technical challenge and a gateway to the aesthetic ideals of the Classical era: clarity, elegance, and the perfect marriage of text and music.

As a child prodigy who performed across Europe, Mozart developed his vocal writing through intimate knowledge of singers' capabilities and limitations. His arias and songs demand not just technical facility but also the ability to shape long, singable lines with intelligence and grace. Studying Mozart trains singers to think architecturally about phrasing, to navigate his precise rhythmic language, and to understand how simplicity of surface can contain profound musical architecture.

Why we love this

This collection distills the vocal treasury of one of history's greatest melody-makers into a practical, 128-page volume organized for singers navigating the standard repertoire. The Edition Peters presentation gives singers reliable texts and clear scores without unnecessary editorial baggage, letting Mozart's musical intentions stay in focus. Whether you're building a recital program, assigning pedagogical examples, or introducing singers to the Classical voice, this book delivers material that sounds as fresh today as it did two centuries ago.

What to expect

Stepping into Mozart's vocal world means encountering melodies that seem to breathe naturally while navigating surprising harmonic turns. There's an intimacy to this music; even in formal arias, you sense Mozart writing for specific singers he knew and admired. The piano partnerships range from gently supportive to dramatically engaged, creating conversations rather than mere accompaniments.

Who it's for

High-voice singers preparing recital material, auditioning for roles, or deepening their understanding of the Classical vocal tradition. Voice teachers seeking reliable, pedagogically sound selections for intermediate and advanced students. College and private studio singers who want to explore Mozart without committing to complete opera scores.

How to get the most out of it

  • Honor the harmonic rhythm beneath Mozart's melodies; what feels simple on the surface often sits atop carefully placed chord changes that deserve a singer's awareness.
  • Breathe where the phrase structure allows, not where your lungs demand it. Mozart's periods are architectural; interrupting them damages the line.
  • Accompany yourself by listening to the piano part as a conversational partner, not a backdrop. Mozart's accompaniments are always active and often comment on or enhance what the voice is doing.
  • Approach ornamentation with purpose. Trills, turns, and runs should feel like inevitable extensions of the melody, never like decorative afterthoughts.

How to use it

Anchor a classical recital with selections from this volume, mixing formal arias with intimate songs to show the breadth of Mozart's vocal palette. Pair selections with non-Mozart repertoire to illuminate the Classical aesthetic by contrast. Use individual pieces as audition material or as focal points in voice study across a full semester or year.

Skills your students will build

  • Sustaining long, lyrical phrases with consistent tone quality
  • Navigating Classical harmonic language and understanding phrase architecture
  • Shaping ornamentation (trills, turns, cadenzas) as musical rather than technical events
  • Balancing the voice with piano accompaniment in chamber music style
  • Interpreting Italian and German text with period-appropriate diction and sensitivity
  • Developing stamina for sustained vocal lines without relying on excessive vibrato or dynamic swelling

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