Evaluation of Mozart's concert aria K.505 "Ch'io Mi Scordı Dı Te?" for soprano, piano and orchestre through tecnical and musical aspects of conducting

When the music works are divided into genre, they usually meet under certain headings according to some features. While these classifications are sometimes made according to formal characteristic or subject content, sometimes the development in the history of music or the characteristics of the region in which it is composed, etc. taking into account. In addition, the genre plays the task of collecting musical works under some titles, and sometimes it also undertakes to exclude them from these titles. To decide under which headings or titles a musical work is to be collected or under which headings; it means to examine the process of the emergence of the work comprehensively. In this study, embodying both the instrumental and vocal soloist in Mozart's K.505 "Ch'io mi scordi di te?" concert aria which composed for a work of the musical assessments and technical reviews has been made by conductor's point of view and the various proposals intended to be presented. In the first part, where the so-called Concert Aria is originated from were evaluated with the example of K.505 "Ch'io mi scordi di te? and the definition of this genre was made. The relationship between this opera and the aria of the Concert Aria, which became independent of Mozart's Idomeneo operandi, is explained and it is presented in terms of the style that there is still a structural link between them. The concert arias dedicated to a particular person at the time supports the idea that K.505. "Ch'io mi scordi di te?" the concert aria was written for the soprano Nancy Storace, a close relationship with Mozart. The second part is based on the musical evaluation of the K.505 "Ch'io mi scordi di te?" concert aria. The similarities and differences of libretto and musical aspects are presented in comparison with the first version of aria K.490 "Non più, tutto ascoltai." In the third part, a number of gestures have been drawn by emphasizing the distinction between vocal and instrumental accompaniment management in terms of orchestral conducting and suggestions for orchestra conductors who will manage this work are presented.