"La finta giardiniera ("The Pretend Garden-Girl"), K. 196, is an Italian opera by Wolfgang Amadeus Mozart. Mozart wrote it in Munich in January 1775 when he was 18 years old and it received its first performance on January 13 at the Salvator theater in Munich. There is debate over the authorship of the libretto; often ascribed to Calzabigi, some have attributed it to Giuseppe Petrosellini, but it is questioned whether it is in the latter's style.
In 1780 Mozart converted the opera into a German Singspiel called Die Gärtnerin aus Liebe (also Die verstellte Gärtnerin), which involved rewriting some of the music. Until a copy of the complete Italian version was found in the 1970s, the German translation was the only known complete score."
|Composer||Wolfgang Amadeus Mozart|
|Work||Overture from 'La Finta Giardiniera', K. 196|
|Orchestra||The Vienna Philharmonic Orchestra|
|Date Recorded||11th January 1938|
|Date Restored||19th December 2015|
|Serial Numbers||HMV DB3431|
|Bandwidth||50Hz to 8kHz|
|Transfer Stylus||2.8 mil truncated elliptical|
|Transfer Cartridge||Stanton 500 at 5g|
|Transfer Turntable||Hitachi HT-350 at 78RPM|
|Cutter Compensation||300Hz first order lift down to 30Hz|
|Click Reduction||DeClick, wavelet mode, 62, 2 passes|
|Crackle Reduction||DeCrackle, wavelet mode, 60, 2 passes|
|Low Frequency NR||DeNoise LF, mono, 150Hz, -57dB|
|Wideband NR||DeNoise, auto noise floor, -10dB reduction|
|Limiting Filter||48dB/octave Butterworth, at bandwidth limits|
|Additional Eq.||None needed|
This piece appears on the last side of 4 discs containing Mozart's Symphony No. 41 in C Major, which takes up 7 of the 8 available sides, leaving one free. It is a rather short piece for a single 12" side, taking just over 2 of the 4+ available minutes of time available. Because of the short duration, the groove spacing is quite high, allowing for a high level and good fidelity, bar some distortion, hence the excellent dynamic range.
The audio tracks listed on this page are digital restorations of 78 RPM records in my possession, whose mechanical copyright has expired before the time of this pages publication. No later release is used so any copyright affecting such a release does not apply to any of the sound recordings shown on this page. Claims to the contrary may be vexatious if pursued. Any communication between parties claiming copyright of the material on this website and the author of this site will be published immediately with great derision. The contents of this page must not be copied represented or sold without express permission.
Michael Fearnley 2015