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Komponisten 1618Caccini © Albert Gier (UNIV. BAMBERG), NOVEMBER 2003 KOMPONISTEN 1618CACCINI LORENZO BIANCONI, Giulio Caccini e il manierismo musicale, Chigiana 25 (1968), S. 21-38 1633PERI HOWARD MAYER BROWN, Music – How Opera Began: An Introduction to Jacopo Peri´s Euridice (1600), in: The Late Italian Renaissance 1525-1630, hrsg. von ERIC COCHRANE, London: Macmillan 1970, S. 401-443 WILLIAM V. PORTER, Peri and Corsi´s Dafne: Some New Discoveries and Observations, Journal of the American Musicological Society 17 (1975), S. 170-196 OBIZZI P. PETROBELLI, L’ “Ermonia“ di Pio Enea degli Obizzi ed i primi spettacoli d´opera veneziani, Quaderni della Rassegna musicale 3 (1966), S. 125-141 1643MONTEVERDI ANNA AMALIE ABERT, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel & Co. 1954 Claudio Monteverdi und die Folgen. Bericht über das Internationale Symposium Detmold 1993, hrsg. von SILKE LEOPOLD und JOACHIM STEINHEUER, Kassel – Basel – London – New York – Prag: Bärenreiter 1998, 497 S. Der Band gliedert sich in zwei Teile: Quellen der Monteverdi-Rezeption in Europa (8 Beiträge) sowie Monteverdi und seine Zeitgenossen (15 Beiträge); hier sollen nur jene Studien vorgestellt werden, in denen Libretto und Oper eine Rolle spielen: H. SEIFERT, Monteverdi und die Habsburger (S. 77-91) [faßt alle bekannten Fakten zusammen und fragt abschließend (S. 91) nach möglichen Einflüssen Monteverdis auf das Wiener Opernschaffen]. – A. SZWEYKOWSKA, Monteverdi in Polen (S. 93-104) [um 1600 wirken in Polen zahlreiche italienische Musiker, vor allem in der königlichen Hofkapelle; Monteverdi lernte den künftigen König Wladyslaw IV. 1625 in Venedig kennen. Marco Scacchi, der Leiter der Kapelle, deren Mitglieder auch drammi per musica komponierten (vgl. S. 98), bekannte sich zur „monteverdianischen Schule des Ausdrucks“ (S. 102)]. – S. DAHMS, Monteverdi und die italienische Tanzkunst zwischen Renaissance und Barock (S. 153-166) [im Tanz versinnbildlicht sich um 1600 die neuplatonische Idee einer analogen Struktur von Mikrokosmos und Makrokosmos, außerdem ist die tänzerische Bewegung den Hirten Arkadiens gleichsam angeboren. An einen Überblick über italienische Tanzkunst und -theorie schließt sich die Frage nach Tanzsätzen bei Monteverdi an: Man könnte „mit einiger Courage ein ganzes Repertoire Monteverdischer Tänze zusammenstellen“ (S. 166)]. – M. WOITAS, Combattimento & Co. Choreographie und imitatio in den Torneo-Tänzen um 1600 und in Monteverdis Combattimento (S. 167-190) [in der Vorrede zum Combattimento fordert Monteverdi „die Vereinigung der drei beteiligten Imitationsebenen Text, Musik und Bewegung zu ‘einem einheitlichen Ganzen der Nachahmung’“ (S. 170); die Komposition läßt weitgehende Übereinstimmungen mit der Grundstruktur der mimetischen Torneo-Tänze erkennen (S. 177-182), die Synthese aus Text, Musik und Körperaktionen ermöglicht eine „akustisch-visuelle Gesamtwirkung, die ihrer Zeit weit voraus war“ (S. 187)]. – J. STEINHEUER, Zur musikdramatischen Umsetzung epischer Texte bei Monteverdi und seinen italienischen Zeitgenossen (S. 191-213) [in der ersten Hälfte des 17. Jhs wurden häufig Passagen aus den Epen von Ariost, Tasso oder auch Vergil, als polyphone Madrigale oder Sologesang, vertont; fast alle diese Kompositionen sind nicht zur szenischen Aufführung, sondern zur Rezitation bestimmt. Indem Monteverdi im Combattimento die Ebenen der Erzählung und szenischen Visualisierung trennt (vgl. S. 207), schafft er dagegen „eine eigenständige Gattung epischen Musiktheaters“ (S. 208f.) (als mögliche Parallele wären – neben dem Kabuki (vgl. S. 211f.) – vielleicht auch Formen mittelalterlichen Theaters in Betracht zu ziehen, in denen sich Rezitation und pantomimische Darstellung verbinden, vgl. die altfrz. Chantefable Aucassin et Nicolette, 13.Jh.)]. – N. DUBOWY, Bemerkungen zu einigen Ulisse-Opern des 17. Jhs (S. 215-243) [von 1640 (Monteverdis Ritorno) bis 1696 entstehen 12 Opern mit Odysseus als Protagonisten (Liste S. 215f.). Daß Odysseus dennoch eher eine „epische“ als dramatische Figur ist (S. 217), hängt damit zusammen, daß die Reihe seiner Bewährungsproben prinzipiell unabschließbar ist; folgerichtig bestehen mehrere Libretti aus Einzelepisoden (vgl. S. 223f.). Hier von „epischem Musiktheater“ (S. 227) zu sprechen, hat seine Berechtigung (allerdings hätte sich der Begriff [z.B. ausgehend von M. PFISTER, Das Drama, München 81994, 103ff.] schärfer fassen lassen); dazu paßt auch die „Lust am visuellen Vorführen“ (S. 230) in Monteverdis Ritorno, der nach DUBOWY als fünfaktige Oper konzipiert war (S. 232ff.). Monteverdis Eingriffe in den Text der beiden ersten Szenen (vgl. S. 238-241) liefern ein schlagendendes Beispiel für (nicht nur musikalische) Kontrast-Dramaturgie]. JOHN D. DRUMMOND, L´Orfeo, in: Musik-Konzepte 88. Claudio Monteverdi. Um die Geburt der Oper, ##############, S. 57-73 MARKUS ENGELHARDT (Hrsg.), in Teutschland noch gantz ohnbekandt. Monteverdi-Rezeption und frühes Musiktheater im deutschsprachigen Raum (Perspektiven der Opernforschung, 3), Frankfurt/M. etc.: Peter Lang 1996, XIV + 354 S. FABIO FANO, Il combattimento di Tancredi e Clorinda e L’Incoronazione di Poppea di Claudio Monteverdi, in: Studi sul teatro veneto fra Rinascimento ed età barocca, a cura di M.T. MURARO, Firenze: Leo S. Olschki Editore 1971, S. 345-371 KURT VON FISCHER, Eine wenig beachtete Quelle zu Busenellos Incoronazione di Poppea, in: Claudio Monteverdi e il suo tempo, hrsg. von RAFFAELLO MONTEROSSO, Venezia et al. 1969, S. 75-80 KURT VON FISCHER, Versuch einer Interpretation von Monteverdis Opern, in: Musik- Konzepte 88. Claudio Monteverdi. Um die Geburt der Oper, ############## S. 13-19 PAOLO GALLARATI, Il combattimento di Tancredi e Clorinda: Monteverdi esegeta del Tasso, aus: Torquato Tasso cultura e poesia. Atti del convegno Torino – Vercelli, 11-13 marzo 1996, a cura di MARIAROSA MASOERO, Torino: Paravia 1997, S. 291-312 Monteverdi hat eine Reihe kleinerer Änderungen an Tassos Text vorgenommen (S. 292f.); in seiner Vertonung sind ein episches, ein dramatisches und ein lyrisches Register zu unterscheiden (S. 295f.), was eine „varietà di prospettive spazio-temporali“ ermöglicht (S. 300). Ähnlich wie in Tassos Vorlage (vgl. S. 306f.) löst sich das Geschehen in Einzelbilder auf (S. 301), Wirklichkeit ist nur in Fragmenten faßbar. JOSEPH KERMAN, Orpheus and the Neoclasic Vision of Opera, The Hudson Review 9 (1956), 2, S. 250-267 MARIANNE KESTING, Tasso und Monteverdi: Il combattimento di Tancredi e Clorinda, in: Die Semantik der musiko-literarischen Gattungen. Methodik und Analyse. Eine Festgabe für Ulrich Weisstein zum 65. Geburtstag, hrsg. von WALTER BERNHART (Buchreihe zu den Arbeiten aus Anglistik und Amerikanistik, Bd. 10), Tübingen: Gunter Narr 1994, S. 21-33 FRED VAN DER KOOIJ und RAINER RIEHN, Orfeo oder die Ohnmacht der Musik. Ein Gespräch, in: Musik-Konzepte 88. Claudio Monteverdi. Um die Geburt der Oper, ########### S. 94- 109 KONRAD KÜSTER, Monteverdis „genere concitato“ und die Vollkommenheit der Musik, in: Musik und Szene. Festschrift für WERNER BRAUN zum 75. Geburtstag, hrsg. von B.R. APPEL, K.W. GECK, H. SCHNEIDER (Saarbrücker Studien zur Musikwissenschaft, Bd 9), Saarbrücken: SDV 2001, S. 41-55 SUSAN MCCLARY, Konstruktionen des Geschlechts in Monteverdis dramatischer Musik, Musik-Konzepte 88. Claudio Monteverdi. Um die Geburt der Oper, ############ S. 34-56 REINHARD MÜLLER, Der ‘stile recitativo’ in Claudio Monteverdis Orfeo (Münchner Veröffentlichungen zur Musikgeschichte, 38), Tutzing: H. Schneider 1984 WOLFGANG OSTHOFF, Zu den Quellen von Monteverdis Ritorno di Ulisse in Patria, Studien zur Musikwissenschaft 23 (1956), S. 67-78 WOLFGANG OSTHOFF, Das dramatische Spätwerk Claudio Monteverdis, Tutzing 1960 PIERLUIGI PETROBELLI, «Ah, Dolente partita»: Marenzio, Wert, Monteverdi, in: Claudio Monteverdi e il suo tempo, hrsg. von R. MONTEROSSO, Verona 1969, S. 361-376 NINO PIRROTTA, I due Orfei. Da Poliziano a Monteverdi, Torino: Einaudi 1975, XIV + 472 S. NINO PIROTTA, Scelte poetiche di Monteverdi, in: Scelte poetiche di musicisti. Teatro, poesia e musica da Willaert a Malipiero, Venezia: Marsilio Editori 1987, S. 81-146 NINO PIROTTA, Teatro, scene e musica nelle opere di Monteverdi, in: Scelte poetiche di musicisti. Teatro, poesia e musica da Willaert a Malipiero, Venezia: Marsilio Editori 1987, S. 219-241 NINO PIROTTA, Studi sul teatro veneto fra Rinascimento ed età barocca, a cura di M.T. MURARO, Firenze: Leo S. Olschki Editore 1971, S. 321-343 DARIO RASTELLI, Tancredi e Clorinda «al Paragone», aus: Claudio Monteverdi e il suo tempo, hrsg. von R. MONTEROSSO, Verona 1969, S. 557-569 MARIO RINALDI, Vivaldi e Monteverdi, Nuova Antologia 2155 (1985), S. 296-323 BARBARA RUSSANO HANNING, Monteverdi´s Three Genera. A Study in Terminology, in: Musical Humanism and its Legacy. Essays in Honor of CLAUDE V. PALISCA, ed. by N.KOVALEFF BAKER and B.RUSSANO HANNING, Stuyvesant, NY: Pendragon Press 1992, S. 145-170 A. SZWEYKOWSKA, Le due poetiche venete e le ultime opere di Claudio Monteverdi, Quadrivium 18 (1977), S. 149-157 ANTONINO TITONE, »E quai nuovi rumori«. Neben- und komische Rollen in Monteverdis Musiktheater, in: Musik-Konzepte 88. Claudio Monteverdi. Um die Geburt der Oper, ########## S. 20-33 1655MAZZOCCHI CLAUDIO GALLICO, Musicalità di Domenico Mazzocchi: Olindo e Sofronia dal Tasso, Chigiana 22 (1965), S. 59-74 STUART REINER, “Vi sono molt´altre mezz´arie...“, in: Studies in Music History. Essays for ILVIER STRUNK, ed. by HAROLD POWERS, Princeton, NJ: Princeton University Press 1968, S. 241-258 1667MANELLI PIERLUIGI PETROBELLI, Francesco
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