Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)

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The Wagner Operas

Cremona: Fondazione Claudio Monteverdi, —. The operas are in volumes 8, 16, and Other editions of the operas are listed in Adams , 31— Critical articles about the various editions are sum- marized in Adams, p. Stattkus, Manfred H. Claudio Monteverdi: Verzeichnis der erhaltenen Werke. Bergkamen: Stattkus, With indexes of titles, subtitles, incipits, editors, and publishers. Chronology of printed issues, bibliography. Bibliographies and Guides to Resources Adams, K. Gary, and Dyke Kiel. Claudio Monteverdi: A Guide to Research. Garland Composer Resource Manuals, M66 A5.

Worklist, indexes of authors, proper names, and composi- tions. Abert, Anna Amalie. Darmstadt: Wissenschaftliche Buchgesellschaft, M7 A14 C6. Discusses the state of research since on the life and works and comments on the editions. A valuable essay, marred by incomplete data on the writings cited.

See also Fabbri Raffaello Monterosso. Verona: Valdoneza, M77 C6. Consists of papers from the conference held in Venice, Mantua, and Cremona, in May Francesco Degrada, on the libretto, is at Most of the congress was concerned with nonoperatic topics. Cremona: Fondazione Claudio Monteverdi, M I This issue of the journal contains papers presented at the conference, Siena, 28—30 April The Monteverdi Companion. Denis Arnold and Nigel Fortune. New York: Norton, M7 A The New Monteverdi Companion.

M77 N5. An update of with most articles carried over, with revisions. The Don- ington and Beat studies are omitted. Harnoncourt, Nikolaus. Salzburg: Residenz, A collection of short essays by Harnoncourt. Without footnotes or bibliography. Chafe, Eric. New York: Schirmer, M77 C4. Important essays by Chafe, on technical aspects of the compositions. Backnotes, valuable bibliography of some items, title index, general index. Letters and Documents The Letters of Claudio Monteverdi. New York: Cambridge U.

M7 A2 S Stevens covers the years — with letters, notes, and comments. Schrade, Leo. Monteverdi: Creator of Modern Music. Reprint, New York: Da Capo, M7 S It has little about the music except for a useful background chapter on Orfeo. Bibliography of about entries, index of names, titles, and topics.

Fabbri, Paolo. Tim Carter. M77 F2. The English edition is rather con- densed, being primarily a documentary life story; the Italian original p. Useful review of the literature on Mon- teverdi from the 17th century on. Worklist, bibliography, name index. Milan: Rusconi, M77 P A well-documented life and works, with useful background chapters on the Italian madrigal, the Camerata, and music at St.

The compositions are discussed in non- technical style, with musical examples. Bibliography, title index, name index. Leopold, Silke. Claudio Monteverdi und seine Zeit. M77 L5. Useful chronology of Monteverdi and the period, bibliography, name index. Redlich, Hans F. Claudio Monteverdi: Life and Works. Kathleen Dale. New York: Oxford U. Reprint, Westport, Conn. ISBN X.

M77 R There are new chapters in the English version and other expansions and revi- sions. The book is an important contribution by a major scholar on the com- poser. In addition to biography and description of the works, there is guidance for modern performances and editions.

Backnotes, worklist, chronology, bibli- ography, name index. Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: U. M77 T7. A useful background treatment of the Italian cultural scene, with writings of numerous scholars of the time presented. Title index, general index. See also New Grove Italian Baroque Claudio Monteverdi und das musikalische Drama. Valuable technical accounts of the operas, with musical examples and foot- notes. Bibliography of about items, name index. Glover, Jane. Particular points of change involve dramatic format, harmony and melody, and orchestral require- ments.

Includes extended descriptions of musical and dramatic elements. Pirrotta, Nino. Maria Teresa Muraro Florence: Olschki, , trans. Harris Saunders. Lesser-known works are also taken up, with explanation of their impact on Monteverdi. A study of the opera premieres in terms of the halls and modes of presentation. Reinhard G. Analyses of performance problems by a leading practitioner of the authentic performance movement. The essays are variable in length and approach. Without notes, bibliography, or index. McClary, Susan. Women were associated with eroticism and seen as a threat to men unless controls were placed on them.

Cancelled entry. Porter, William V. Porter discusses these, concentrating on the chamber works. Extensive footnotes cover the entire literature on all the Monteverdi versions. Rosand, Ellen. Reprint, GL, v. Looks at the reasons for the association, in the mid—17th century, between the idea of lamentation and the descending minor tetrachord. The tetrachord formula was carried forward to Purcell, Handel, and Bach. Musical examples, footnotes to the relevant literature. Osthoff, Wolfgang. Compares the two manuscripts in detail.

Both have to be taken into account in the search for an authentic score. Fenlon, Iain, and Peter N. London: Royal Musical Association, M8 F An exploration of Tacitism, Senecan neostoicism, and the neostoicism of the Incogniti. That principle is embodied in Drusilla who thus appears to be the protagonist. Reprinted in Similar examples of word-painting are cited. Chiarelli, Alessandra. She compares the Venetian and Neapolitan manuscripts in great detail, collating all sources. Heller, Wendy.

The suicide of Seneca is portrayed by Tacitus as a moral vic- tory in the neostoic tradition, but in Venice the event was reinterpreted. These ideas are intricately worked out, and footnotes lead to the relevant literature. Degrada, Francesco. Biography and background of Busenello and aspects of the Poppea libretto. His text, dark and pessimistic, was altered by Monteverdi to give a more posi- tive, Christian perspective. Covell, Roger David. Curtis, Alan. Stylistic and historic evidence indicates that Monteverdi did not write all the music.

Suggests that Francesco Sacrati was probably another composer involved. See next entry. These parts of the book are concerned with Poppea. Tutzing: Schneider, M77 O8. Footnotes, bibliography, index of names and subjects. Relates the libretto to the Roman play Octavia, ascribed to Seneca.

Day, Christine J. Salvetti, Guido. Ghedini and Finds the two earlier productions more faithful to the Venetian manuscript with regard to instru- mentation. Donington, Robert. Claudio Monteverdi Donington is an advocate of Jungian analysis, and he applies the approach to characters and situations in the opera. He also describes motivic relationships and the means of achieving unity.

Fenlon, Iain. A series of letters—most of them not previously published—between Fran- cesco and Ferdinando Gonzaga helps to clarify questions about the text and premiere. Ferdinando sent him a singer for it, a castrato named Giovanni Gualberto, who sang in the premiere. Some reasonable sup- positions are possible regarding the room of the performance. Allorto, Riccardo.

Compares the prologue to those in Peri and Caccini. M72 M8. It is a thorough analysis of the treatment of text in the opera. The role of the continuo also receives extensive attention. Footnotes, bibliography, index of names and sub- jects. Cammarota, Lionello. Goldschmidt, Hugo. An analysis and appraisal, characterizing Monteverdi as the leading opera composer of his time. He attained mastery in this opera.

Iro, the beggar in Il ritorno, is the Arnaios of Homer, his role greatly expanded. None of this is in Homer, so why here? Rosand proposes a binary opposition of sense and reason in the opera. Carter, Tim. See also Osthoff Douglas Moore — Weitzel, H. Paris: Floury, M94 V8. Life and works, with genesis, program notes, and reception of the operas. Worklist, musical examples, bibliography, no index. M94 J4. Six papers presented at a conference in Aix-en-Provence, 28—29 April Wolfgang Amadeus Mozart — Editions Mozart, Wolfgang Amadeus. Issued by the Internationale Stiftung Mozarteum Salzburg.

All the stage works have been published, in series 2. For a description see Mozart Compendium www. Wolfgang Amadeus Mozart An inventory of 19 earlier collected editions is in Hastings , 29— Ernest Warburton. ISBN v. M83 W4. Thematic Catalogues and Worklists M9 A3. First edition, The standard list, source of the identifying K-numbers. Works are in chronological order, with melodic incipits and references to sources and modern editions.

The next entry is a necessary adjunct Zaslaw, Neal, and Fiona Morgan Fein. Ithaca, N. M9 M This book gives sup- plementary entries and information to the edition and gives connections to the Neues Ausgabe Hastings, Baird. M9 H Author and name indexes. Title varies. M; ML M9 A More than 14, books and articles are included, in author order, with full bibliographic data but without annotations. The — bibliography published has 3, entries. Index of persons, places, topics, and works. Elvers noted that there had been no Mozart bibliographies published since Freitag, Wolfgang.

Amadeus and Company: Mozart im Film. Vienna: Umbruch, M95 F Index of names. Rome, Consists of 19 papers, of which 8 are on the operas. No bibliography or index. Mozartanalyse im Gernot Gruber and Siegfried Mauser. Schriften zur musikalischen Hermeneutik, 6. M95 M An interesting collection of papers presented at the conference, offering ana- lytic studies by various classic theorists: Tovey, Riemann, Schenker, Kurth, Halm, and by genre. Mozart Jahrbuch, 1—, —. Salzburg: Internationale Stiftung Mozarteum, —. Supersedes the Neues Mozart Jahrbuch, 1—3, — Regensburg, — and the original Mozart Jahrbuch, 1—3, — Munich, — Acta Mozartiana, 1—, —.

Augsburg: Deutsche Mozart Gesellschaft, —. M95 A6. Mozart Studien, 1—, —. Tutzing: Schneider, —. It includes a table of the aria types in the Italian operas. Mitteilungen der Internationalen Stiftung Mozarteum, 1— —. ISSN Wolfgang Amadeus Mozart Collections of Essays Stanley Sadie. M95 W Hier wird es besser seyn—ein blosses Recitative zu machen. Robbins Landon. Hoffmann, Kierkegaard. Einstein, Alfred. Mozart: His Character, His Work.

Arthur Mendel and Nathan Broder. M9 E4. Program notes on the operas, p. Worklist, name index. Deutsch, Otto Erich. Mozart: A Documentary Biography, — Stanford, Calif. Press, M95 D The principal biography, concentrating on the person, drawn from a wide range of contemporary source materials. Worklist, bibliography, index. Addenda und Corrigenda by Joseph Heinz Eibl was issued by the same publisher in Eisen, Cliff.

Everything is in English translation only. List of sources consulted, general index, title index. Letters and DocumentsThe numerous publications of this material are cited with comments in Hastings , 71— A specialist in the physical characteristics of the autographs has animportant contribution Tyson, Alan. Mozart: Studies of the Autograph Scores. Cambridge, Mass. M9 T A collection of 18 essays, all but one previously published, which approach the scores through study of paper, inks, methods of copyists, and other internal evidence. Tyson is able to authenticate and date the manuscripts and to clarify questions about them.

Backnotes, indexes. Operas in General Dent, Edward Joseph. London: Oxford U. M9 D Expansive index of names and titles. Kunze, Stefan. Mozarts Opern. Stuttgart: Reclam, M9 K An imposing tome, to be sure, with musical examples and 38 pictures, but the extensive commentaries on the operas do not add to previous knowledge. In a sense, Kunze diminishes earlier research in his citations by concentrating strongly on German scholarship and neglecting essential English language writings.

Weak bibliography; name index. Heartz, Daniel. Thomas Bauman. M9 H2. A valuable collection of 16 essays by Heartz, 6 of them newly published, and 2 new essays by Bauman. Stewart Spencer. New York: Rizzoli, Nearly every page has at least one picture, many of them in color, many showing modern staging. Genesis, program notes, and reception are presented for even the lesser-known operas, in popular style with little documentation. Weak index. Kaiser, Joachim. Charles Kessler. ISBN 0- M95 K Detailed accounts, in popular style, of 56 characters from seven operas, with speculations about their motivations and personalities as suggested by the texts.

Musical matters are not taken up. Backnotes, expansive index. Brophy, Brigid. New York: Da Capo, M9 B This is a reissue with a few alterations. Brophy studies the texts of the operas, with passing attention to the music. She also deals at length with Don Giovanni, taking gender-based and Freudian approaches. There is an overall concern with 18th-century intel- lectual life and its manifestation in the operas.

Footnoted, bibliography, no index. Allanbrook, Wye Jamison. An imaginative study of movement, including questions of tempo and meter, and use of dances. The motions of the singers fall into standard patterns topoi and reveal the character being portrayed. Nagel, Ivan. Marion Faber and Ivan Nagel. M9 N Numerous factual errors muddy the waters further. Steptoe, Andrew. M95 S Nor is there—despite the title of the book—much said about Da Ponte. Nevertheless, there is a useful summary analysis of the works, with focus on the ensembles, presenting tonal diagrams and other technical approaches.

Footnotes, short bibliography, expansive index. Text also in Italian. Considers the relationship between composer and libret- tist, which had to be more than just congenial and cooperative; after all, there have been many such pairs without special results. And Da Ponte worked with other composers, producing no masterpieces.

What is needed is in-depth study of prosody, verse structure, rhythm, expressiveness, text, and, above all, the scenic dimension. Examples show how Mozart composed a scene in such a way as to exhibit character. Although the concept of director was still taking shape in the 18th century, Mozart played that role; the article explains how he did it. One way was for the music to compel certain stage actions, so that no director had to explicate them.

For instance, in dialogue arias, stage actions are conditioned by the pres- ence or absence of the person being addressed or by direct address to the audi- ence. Noske, Fritz. The Hague: Nijhoff, Reprint, New York: Oxford U.

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ISBN Oxford Wolfgang Amadeus Mozart An interesting attempt to apply semiotic critical method to the operatic genre. Unity is not found in formal design but in process, espe- cially the unfolding of melody. Aside from the thesis being pursued—which could be more clear in premise and execution—there are good musical analy- ses of the operas, with references to earlier literature.

Richard Wagner: A Biography

No bibliography, how- ever. Name and title index. Federhofer, Hellmut, et al. A wide-ranging discussion by a working party, considering tonal design and other unifying devices. Not indexed. Moberly, Robert B. M91 M A sophisticated critique of the libretti, with some allusions to the music. Moberly moves line-by-line through the texts, with illuminating and often entertaining results. For instance, there is the story of Figaro measuring the room, which is told here in remarkable depth.

See Tyson, Webster, James. Taking Kunze as a point of departure, Webster disputes the necessity of text to give shape to the music. Musical events in an aria would be clear and ordered even disregarding the words. He is also concerned about the custom- ary reliance on instrumental forms as a basis for analyzing opera.

The sonata form is actually rare in Mozart. Kunze, Steptoe and others follow this practice, building on Abert and Levarie Why think of numbers as key related when they are separated by recitatives, and by long stretches of time? Is D major the dominant or tonic in the opening of Figaro?

Detailed studies of eight major arias. Believes arias to be equal in importance to ensembles. Geburtstag, — Tutzing: Schneider, ; ML A historical review of the cavatina form, covering Jommelli, Galuppi, Hasse, and Gluck. Examples from Mozart demonstrate his approaches. Neumann, Frederick. Ornamentation and Improvisation in Mozart.

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Prince- ton, N. Study of the appoggiatura, grace note, trill, diminutions, and other devices, with numerous musical examples from the operas. Footnotes, expansive index, no bibliography. Engel, Hans. A useful table shows the opening and closing keys of the works. With com- ments on earlier writers who had covered some of the ground Abert, Levarie, et al. Gruber, Gernot. Mozart and Posterity. London: Quartett, M9 G Originally Mozart und die Nachwelt Salzburg: Residenz, An elaborate reception history of all the works, in chronological order.

See also Heartz , , Kivy , and material on Da Ponte ff. Analysis of paper discloses the sequence in which the numbers were written. Detailed genesis, using all sources and sketches. References to previous litera- ture are in 87 footnotes. Numerous insights on this aspect and many others in the two operas. Durante, Sergio. There is little documentation from which to derive a genesis for the opera, but the autograph, sketches, and printed libretto of provide some informa- tion.

The sequence of the writing is revealed in part by study of the paper used watermarks, numbering of the sheets, and so on. The libretto is of uncertain origin: an invention of Da Ponte or an adaptation from? The Viennese context of the times antisentimental gave shape to the libretto. Levarie, Siegmund.

During the opera a rhythmic pattern consisting of a dotted quarter note held fermata followed by an eighth note and quarter note is heard 44 times. The pattern is not limited to any melodic structure. It is a rhythmic leitmotiv. Glasow, E. These fermatas are in various rhythmic patterns, not just in the pattern that concerned. Some interesting ideas—but no explanation of the fermata emerges. Along the way he offers many insights about every- thing else that happens. Goehring, Edmund J. Abert, Hermann. Peter Gellhorn. London: Eulenberg, M91 A It is well known as an early example of close analysis of opera.

Today it reads more like a graceful, erudite, semitechnical program note. Aktes von Mozarts Le nozze di Figaro. Wolfgang Amadeus Mozart dividers, wondering, for example, where the exposition ends. A brief, perceptive character study of the Don, drawn from story and music. Answers such questions as: Why did he choose the contradance for his round with Zerlina? Waldoff, Jessica. Petrobelli, Pierluigi. Nevertheless, Petrobelli observes that orchestras were handling Haydn and Beethoven symphonies without unusual problems.

Many cuts were made in the score for Italian performances, to accommodate these instrumental and vocal challenges. With a list of 35 Italian productions, — Howard Vincent Hong. ISBN ; E61 H7.

Anti-theatricality in twentieth-century opera

Originally published in Danish Copenhagen, But this hovering is a musical trembling. This nameless force is the exuberant joy of life. Brown, Kristi Ann. Bauman, Thomas. Considers how Mozart interpreted the Viennese operatic scene in , as indicated by his letters to his father. The preferred composers there were Paisiello, Salieri, and Gluck. Genesis, traced mostly in the letters, analysis, and many useful observations follow. Mozart intended to write an opera that could represent Germanic ideals and also please Viennese audiences.

His use of so-called Turkish elements repre- sented the barbaric strain in humanity, overcome by the gentle, classical aspect that was to characterize German national opera. With an interesting explica- tion of how Mozart achieves the Turkish mood. Argues that the supposed librettist, Raniero Calzabigi, did not in fact write the text. Suggests, on the basis of recently discovered material, that the real author was Abate Giuseppe Petrosellini. This conclusion has been generally accepted. Hirschberg, Jehoash.

An analysis of the arias and ensembles. They show how Mozart, in his operas, was shifting from the da capo form which he hardly used after to some- thing closer to sonata form. A close examination of the act 3 quartet, considering all musical and textual elements. Mozart Jahrbuch — Issue on Idomeneo. Lucio SillaASO MitridateASO 54 Takes issue with Moberly regarding what Mozart intended as the order of scenes in act 3. The musical evidence, in terms of key sequence, is ambiguous. Tyson describes 13 of them. Chicago: U. M78 L4. The starting point for technical studies of Figaro, this is an outstanding exam- ple of structural analysis.

Tonal design is central—the opera is a binary struc- ture in D major—but all dramatic and musical elements are brought into a convincing unity. Comparisons are made in detail, including tonal schemes. Abbate, Carolyn, and Roger Parker. A study of the opening duettino, usually regarded as a perfect example of words, action, and music in higher unity.

Other examples are given of closure in music but not in text and vice versa. The authors question whether the classical analysis, which assumes a correspondence between words and music, is appropriate. Moberly, Robert, and Christopher Raeburn. Concerns the question of number ordering. But there was one singer for two roles, Bartolo and Antonio, and time was needed for a costume change, so the shift in order was made.

Other plot distur- bances are cited. The same ideas are taken up in Ruf, Wolfgang. Wiesbaden: Steiner, A67 v. Mozart only registers the social climate, without taking sides. In any case, the class matter is in the libretto only; music cannot express it. Melodic characterization is really mood painting. Schneider, Otto. An annotated list of writings on the opera, useful despite a crowded narra- tive format. Eckelmeyer, Judith A.

Wolfgang Amadeus Mozart

Lewiston, N. Mellen, M95 E Considers key progession in the overture as an intrinsic part of the opera. Tries to align events to illustrate dialectic form; e. This idea is pressed into sonata-allegro form, and a schematic table is worked out. Eckelmeyer gives some interesting binary relations of plot, similar to those of Levarie in Figaro Batley, E. M95 B Then a chapter on the disputes over authorship of the libretto and a chapter on its unifying features.

The Magic Flute by W A Mozart BBC Animation (Full 30 mins)

The authorship question turns on the claim of Brigid Brophy that the libretto was a collaboration with Karl Ludwig Giesecke—Brophy following Otto Jahn and Edward Dent in this matter. Getting into the plot, Batley deals exhaustively with the problematic characters of the Queen of the Night and Sarastro, who appear to undergo transformations. Her good qualities are steadily diminished until her only function is to symbolize darkness and evil.

Freyhan, Michael. Contempo- rary sources are carefully examined from this perspective. Chailley, Jacques. Paris: Robert Laffort, M8 C A long account of the libretto, bringing out every possible Masonic symbol.

Index of names, titles, and topics. The latter was imagined by its creators, Richard Strauss and Hugo von Hofmannsthal, to share the atmosphere of the former. Discusses parallels between Papageno and Tamino, but a more subtle relation- ship is found between Papageno and Pamina. From similar experiences the two have basically different outcomes: she reaches maturity, he parodies her with light and foolish songs as she sings of her separation from Pamino.

The key scheme elucidates this. Godwin, Jocelyn. Horwath, Peter. The septagram refers to the Grand Lodge of Austria there were seven regional lodges. With 67 foot- notes to the relevant literature. Recognition scenes are frequent in 18th-century opera indeed, in all opera. This opera is about light and dark: movement toward the light of knowledge.

And is Tamino the protago- nist? Witzenmann, Wolfgang. Witzenmann examines the Italian sources in Dresden, Milan, Naples, Florence, and Rome and compares them to the published Italian libretti of and Three Italian translations are also compared. All the sources are described in great bibliographic detail with references to the total literature in footnotes. See also Moberly , Heartz , and Brown Thea Musgrave — Hixon, Donald.

Thea Musgrave: A Bio-Bibliography. Bio-Bibliographies in Music, 1.

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Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds) Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)
Mozart the Dramatist: The Value of his Operas to him, to his Age and to Us (Faber Finds)

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