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The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre

Batley, E. M.

How to cite: Batley, E. M. (1965) The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9998/

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2 120

EHIAMJEL SCHISMEDER IN VIEMA

(1789-^1812) 121

MUSIC IN THE FKEaHAUSTHBATER AMD

THE THEATER AN DER WIEN ERRATA p. 129.; St)r 'Two hundred' read 'two hundred', etCoo. Po 152. For *R>rty-.four* read 'forty-four*. Po 204. For 'durchgestrleljenen* read *durchgetrle'benen* 122(a)

lo ESc po 72.

2,. ibido ppo 1^6-151. Das Freihaustheater. y

3o ' cf.9 pp, 57-119-

4. cfo, rjTA. 179^. p. 17-^0 "Wie hier eine Oper, entv;eder auf den Hoftheatern, Oder auf dem Mariaellischen uad Schikaneder'ischen Theater, welche beyde ihr Aufkommen hauptsachlich den Opern zu danken haben,«,,"

5'„ ZTo oU. Ts. \

60 ES, Po 150 e AWKo Pc Wa a 7o ESc >. 167. TIV. vor= uimn d Ba.ugeschichte,

8* July 12tho 'Der dumme Garntner aus dem Gebirge Oder Die zween Anton*"k.Oo July 25tho 'Jakob MDA Nannerl Oder Der angenehme TraTim', Oo --^ September 26th„ 'Die verdeckten Sachen (2. Teil der zween Anton)'. koO.

ZT. 1789.

9, SS. ppo 152-153.

>- 122.

After having been summoned to Vienna Joseph II in 1785 in order that his coapany might perform Singspiele in the ESrntnert art heater,^ Schikaneder visited Vienna on the second occasion in 1739» to assist his \7ife in the manage• ment of the Freihaustheater3 Itoder these circumstances Schikaneder was under no direct obligation to the emperor to be responsible for the maintainance of that genre in the repertoire of the German theatre. % the time he arrived in the city, hoinever, Schikaneder had already proved pn the Wanderbiihne his fondness for Singspiel and music had even then assumed a certain prominence in his theatrical productions,^ In Vienna the Singspiel flourished under him and cane to form the greater part of the reper• toire of the Freihaustheater,'^ Epofessor Deutsch's table of first performances in Schikaneder »s theatre in 1789 notes eight newj nrusical items! four isomische Opern, two Singspielej one Oper and one itomantisch-komische Oper.^ It was not until April that Schikaneder assumed management of the theatre with Bauernfeldf the Royal Imperial Privilege being conferred upon the theatre on June 21st, 179o7 Nevertheless, in this short space of time Schikaneder was responsible for the production of eight new Singspiele, three of v/hich were his own,^ Two of the latter were a great success in the same year, whilst the first, »Der dumme GSrtner', \7as ppodx2ced on thirty-two occasions before the end of 1789? By continuing to pursue a theatrical policy founded on an av/areness of popular appeal, Schikaneder managed to keep his audience favourably disposed towards the Singspiel 125(a)

Komorzynski can find no evidence for such a condemnation of Schikaneder's circumstances. Nevertheless, Bauer also reitarks that Schikaneder was declared bankrupt, but only later in 1792, ('Vor= und Baugeschichte'.), at a time when surely the previous year's success with the 'Zauberflote' must have eased financial pressure on the theatre. Of the same period Rommel remarks that Schikaneder T;as soon able to manage without the services of his rich companion and patron, Josef von :Bauernfeld. A?/VK. p, ^98, 10. cf,, pp. 57-119.

11, ES, pp. 151-152. 'Wiedersehen in Wien'.

12. BM. V2. pp. 3O8-3I60 29th December, 1789 - lA-th August, 1790. M-Michael Puchberg. In these letters Mozart continually begs for money.

13, cfo, pp. 72-75. 123(a)

1. E£. pp. 356-357. This index reveals the variety of Schikaneder»s theatrical offerings. cf., also DDS. p. 159. y. "Die bisherige knappe Form dehnt sich aus, die . , Benennungen Singspiel und Operette verschwinden, die grossen romantischen, lyrischen, komischen Opern ti*eten an ihre Stelle",

2o cfo, pp, 144-147, 3, ZT. 1790. 18th May, Schikaneder also performed Hiller's Singspiel 'Der lustige Schuster' (ZT. 15th August. ES. p. 166) and his own 'Die lyranten (ZT. 7th February) in the Freihaust heater in 1790, two musical vjorks which had been prominent in his repertoire of the Wanderbuhne.

4 0 WTA. 1803. •Weuerbautes»,° "Die gute und prompte Bezahluiig der Dichter, denen das Sttlck gleich nach der Annahme, nicht erst bey^ Oder nach der Vorstellung bezahlt wird, iSsst dieses Theater nie an Stucken darben; und daher hat die Direction nebst den-Arbeiten des Herrn Schikaneder, und mehrerer Mitglieder, von einigen der besseren Kiipfe des In= imd Auslandes Arbeiten zu hoffen, worunter ich Herrn, iiichter (Verfasser der Eipeldauer Briefe, und Oesterreichs Rabelais) Herrn Gewey den Verfasser der Modesitten (denen bald ein zwejrter Theil folgt, und dessen seltner Prozess so sebr gefiel,) mit allem Rechte zShle,"

5o TK. 1778, Po 78,

6o ZT, ES. p. I65ff, "Sorgen und Muhen, Freuden und Erfolge,"

7o cf,, p, 123(a),4, M,V1. Das Theater auf der Wieden, WTA, 1803. "Neuerbautes',

8, ZT, 1791, 1792, 9o Dr, Carl Krebs' 'Haydn, Mozart, Beethoven' (Berlin, 1805), referring to Jahn's biography, states,wrongly, maintains Komorzynski, that Schikaneder was penniless when he approached Mozart in 1791, ESo pp. 171-172, 125 and its various manifestations in the classical, romantic, heroic, epic, historic, allegoric, comic, magic and mili• tary 7/orld of the theatre.^ His musical programme thus ranged from the light and humorous 'Der dumme Anton* and its six sequels on the one hand,^ to the more sublime melodrama of Brandes> 'Ariadne auf Naxos'^on the other. As an enticement for playwrights and musicians to produce new material, Schikaneder later offered payment on receipt of any work for his theatre,"^ This gave greater incentive to aspiring writers than did the earlier offer of the Hbfs und Nationaltheater, where the poet received nothing until the work had been given its third performance.*^ As a result of this names appear on the programme of performances for 1790, which were little knov/n even in Vienna. In a similar way the appearance of a number of works was very brief.®

The majority of musical works performed at Schikaneder's Freihaiistheater were of German origin. ^Tithout imperial directive Schikaneder was always sufficiently patriotic not to neglect the offerings of his native theatre, where they were forthc caning. Schikaneder fijrther encouraged the musicians of his company to compose for the theatre 7 He produced the attractive and popular Singspiele of Earl Ditters von DittersdorfJ and he continued to write him• self, ^y 1791 productions of inferior quality, such as works and adaptations by Earl laidwig Giesecke, had become more noticeable in the Freihaustheater.^ Schikaneder was certainly not bankrupt at this timef but it might well have been financial considerations, as it might have been his desire to contribute to the German theatref to renew an old associationV to assist a financially embarassed friend," to advertise that friend's talent, where in• trigue had effectively limited his fame in Vienna,^ which caused him to approach Mozart about his writing for the 124(a)

14 o AWK. po 4380 Few »Zaubersttlcke« were performed«

15o ibid, ppo 441=442ff, ^

>- 124(a)

I. 7th March, 1791. ES. p. 176,

ZB. 'Zur Geschichte der Oper»,p„V,

2*1 ZB, 'Zur Geschichte der Qper'. p.lVo

5, ZT, 4„ VJTA. 1794, p, 172. "rtein Besterl Sie verliangen von mir, dass ich Sie mit dem Stande der liluEik in \i7ien bekannt mac he? - Das ist ein schweres Stttck Arbeit. Ich mSchte wo hi Ihren Auftrag vollziehen, aber ich werde es kaum im Stande seyn, und ,zwar aus einem Grunde, der den I7ienera sehr zu Ehre gereicht, denn die Compositoren und Virtuosen sind hier in so grosser Uenge, dass es tteynahe unmSglich ist, sie alle zu kennen."

5o cf,, p. 79(a). 10, ES. pp. 156-157.

6* ES. p, 155.

7. cfpp, 76, 77, 79(a).IQ. Schack & Gerl wrote the music to Schikaneder's Anton series, cf,, pp, 122, 123, 144-147,

8o BS, p. 72,

9, AWVKo p. 432, "Seine Stimme war stark und seinen Gegnern klang sie "versoffen", Seinen Coupletgesang fand Castelli, der ibn allerdings nur in seinen allerletzten Lebensjahren gehSrt ha ben kann, "entsetzlich"." lOo ibid, p, 417.

II. ibid, pp, 431-439, "In der livrei von jedem andern Karakter ist er nicht zu sehen, und alles was in das ,feinere geht, ist ausser seine* Sfare*", DSB, p„129 fli.

12, Apart from the years 1772-1776, Laroche's reign in Vienna was unbroken from 1769-1806. ibid, p„ 431.

13. ES, p. 152.

* As in Text, 12^

Freihaustheatero*" The forthcoming opera, 'Die Zauberflote', was first performed on Septeaber ^Obh, 1791

Uorks by. foreign musicians and authors continued to appear in Schikaneder»s theatre, but they remained in the ininoritj^,^ Whilst German librettists did not seem common in Vienna, German musicians of quality were increas• ing in number by 1794,* As early as 1792 Schikaneder could perform in his theatre the works of Dittersdorf ? Mozartf Franz Xaver Siissmayer,^ Joseph Haydn,'' and of his own Hauskomponisten, Thaddaus Gerl^ and Benedikt Schackf whose own local reputations were not slight?

The rival subiirban theatre, the. Leopoldstadttheater, which had been opened on 20bh October, 1781, by Earl Marinelli and lleraiingerymaB BomeWl^ in its" alleged dedication to the: cause of Slngsplelf Johann Laroche, ^ the extremely talented Kaspe*! comedian, had a very raucous

Ivblee? wMeh did not .erieourage-him to take a serious part In- ^ ' musical productlonsb! | 1 Additional limitations were necessarily imposed by the fact that, although the Leopoldstadttheater soon possessed Karakterkomiker in Johann Sartory and the rest of his family, who came to the theatre in 1782J° and Anton Baumannf* tvho came in 1786 after the theatre in BD^joan had burnt down,** KaspOTl himself never had the ability for character-acting 1^ As a comedian he was undisputed master,^ apart from the tiemporary opposition offered by Schikaneder »s •dummer Antaa*^ but laroche was neither a singer nor an actor In such circumstances it would seem that Easperl's most effective sphere was the Zauberstflckj but even here the quick scenc'^hanges limited his naturalness.-^^ Nor did the greater rigidity of the Lokalstiick offer him an easier emrironi^ As Kasperl was the main attraction for the audience of the Ledpoldstadttheater, the Singspiel under Marinelli could develop only with difficulty beyond 125(a)

13, HTAo 1794, Po 1856

146 TW, 'Vor= und Baugsschichte'. \

>- 125(a)

I, AUTVK* Po 432,

2o ibid, pp, 431-439. , •

5. cfo, p. 74(a), 3-

4, cf., p. 124,

5", AV/TL.E, pp, xviii-xn:.' AITVK. p. 441. In 1-786 V/enzel Mttller was engaged as 'Kapell• meister und Eompositeur' and Hensler joined him as 'Theaterdichter', 'The latter also combined with Perinet to give Schikaneder even more competition. ES, p. 166.

6. AWVK, pp. 544-552,

7. ibid, pp, 546-550,

80 AWTLoE. p, XVI .ff, ZT. Mo VI, Das Freihaust heater auf der V/ieden, WTA, 1794. p. 185,

9. ZT.

10, TA. 1794. p. 185. "...Obschon diese drey Opern von den Kennern eben so sehr bewundert wupden, als^jene, die a\if den Marinellischen Theater aufgefiahrx- worden waren, so konnten sie doch nicht sp viel Beyfall erhalten. Das ist ein hinlanglicher Beweis, dap.G die Schuld nicht an dem Componisten, sondern an den Schauspielern liegt, Man will tiberhaupt - ich sage nicht, mit wie viel Grund odar Ungrunde bemerken, dass Herr Schikaneder alle Opern, von welchen er nicht wenigstens den Text verfertigt hat, seiner Aufmerksamkeit nicht wfirdig halte und sie daher, wie man sich auszudr^cken pflegt, fallen lasse,.." .

II, AWVKo pp, 544-552, WTAo 1794, p. 174.

12 ibid, p, 172. cf,, Po 12ii.(a). 4„ 125

its unrealistic and fairy-tale confines., IThere the Singspiel did seek to go further, as in Borinet's adapta• tions,, it was performedj -vlr.tuaily'{without Easperl's assistance.^, Easperliadeaand burlesques retained thsir prominence in the theatre.^, It is plain from Scbink's interpretation of the device of the safety-curtain,'' if not from the tlTeatre's designation as the 'Sasperltheater* j, that its initial allegiance v/as not to the cause of the Singspiel..

As Isroche grev; olderhowever, Singspiel did become popular in the Leopoldstadttheater. The conflagration in Brunn not only provided the theatre irith 'Earalcterkomiker'• of quality,^ but also with a talented composer of popular melodies, Wenzel Liuller.^, Together iTith Joachim Perinet,^. Miiller was responsible for a whole series of Singspiele,, some of them adaptations from HafnerJ, around the turn of the century,. The musical works of Dittersdorf and Schenk were also performed in both the Freihaus= and Leopold^ stadttheater f.

Although Schikaneder »s theatre enjoyed the privilege of performing works by musicians of the quality of Mozart,,. Haydn and Siissmayerthe actual productions of Singspiele were not always as attractive as in the rival theatre, according to the Theateralmanach of 179*The rexlBtenee~ of two rival theatres in the suburbs of Vienna, however, gave rise to an increased popularity of the Singspiel In conjunction with this virtuosi and composers became more nxMerous in the city.i^ There v/as an upsurge of texts in German As. the suburban theatres had to entertain a German audience of mixed social standing, as opposed to the better ;edu6ated audience of the more expensive fSaf s .wad^ I . -.- .. • • • •• " |Ratlonal theater, where tls works ..of foret^^playwrights >^were;.e^^^ preferredp, tJia .products ofv. thesetheatres: -were^ almost

2. AWK. p, 432, "Kasperl sprach selbstverstandlich den "gemeinen", also den vorstSdtischen und dem Stadt^^/iener um 1800 schon bSuerisch klingenden Wiener Dialekt," (M, VI. p. 275 ff). DSB, 4. Brief. 22nd March, 1783, p, 123. "

3P ES, PO 311, "Durch die Einflihrung eines schwabischen Schustergesellen als komische Figur hat Schikaneder eine alte Ti?adition gefestigt, Schon bei Kurz treffen wir einen schwSbischen Schneckenhandler, bei Hafner eine schwabelnde KSchin,..aber seit Schikaneders "SchneckenhSndler aus Sctiwaben" und "Abgebranntem Haus" wird der Schwabe stSndig," .X.

4 o cf o, p o 7 o

5. cf,, p, 126(a). 3. cfo, TWst, FW, FB. pp, 171-174, 185-187, Elpeldauer remarks on the use of Swabian in Schikaneder's 'Tyroler Wastel', part 2, EDB, 31. Heft, 1. Brief, p, 4ff„ 6, TA, 1796, p,XUII, 'Personalstand des Marinellischen Theaters', 7o ibid, po XLVI, 'Personalstand des Schikanederischen

Theaters'.

80 ZTo

9, WTA, 1794, p. 186, lOo ES, pp, 154, 180.

11, ES,. p, 180, cfo, p.|I546^. >. 12, BWAtl. V2, No, 350, p. 351. M-MmM. 7/8th October,17919 Mo VI, 126

exception, in the vernacular} At its lowest level this jow^&t&ff^to the Viennese dialect,^ which was well suited to the exponents and exposition of comedy, and the dialects of Swabia^ and Salzbua:^^'" Later dialect was more commonly adapted in the suburban theatres to portray character* and Schikaneder was one of the persons responsible f orlll^! attempt to {""elevatTe ;tbe dramatic content of the popular theatre in this viajf Unlike the Easperliaden of the Leopoldstadttheater, the majority of Schikaneder's v/orks, whether Singspiel or drama, enjoyed the privilege of more or less standard German, .protfa'Dlyya :reBul"t~of ^ h .expterlenoe o"£ classical drama of the Wanderbuhneo

In musical achievement Schikaneder managed to surpass Marinelli, The Wiener Theateralmanach of 1796 adds to its list of actors and actresses in the Leopoldstadttheater a number of male and female singers 'aus der Singschule' and mentions an orchestra of thirty musicians.^ B^ this time, however, Schikaneder has begxin to develop the original conception of Singspiel, so that in the same almanach his theatre is headed 'Deutsche Oper'^ and first consideration is given by the editor to Schikaneder's 'Sanger' and •Sangerinnen',^ As a significant token of this development the designation 'Choristen'^appears after the listed member• ship of actors and actresses. Schikaneder's programme from 1789 to 1801 maintained an unusual standard of musical quality and variety,* In : 1789 he commissioned Paul Wranitzky, 'Hofkapellmeister'^ of the reputedly good orchestra at the Hof= und National- theater, to write a romantic-comic opera, which resulted in 'Oberon, KSnig der Elfen'^^with a libretto adapted from Christoph Martin Wieland by Karl laidwig Giesecke,^^ This was already a departure from the original simplicity of the Singspiel, Mozart was a frequent visitor to the theatre}^ but, unfortunately, his association vdth 127(a)

1« Der heiinliche Botschafter: Ibcamplar 6'lT.(series nova 58-60)p.20, " I6th December, 1791» "Alles wetteifert vsn. Mozarts hinterlassene Wittwe, IhreiijjVerlust einisermassea zu ersetzerig und sie zu trosten. So hat der verdienstvolle Freyherr von Swietten den Kaaben, welcher schon vortreflich KLavier spielt, und die Graf inn von Thm das MSdchen an Kindesstatt angenommeno . Herr Schik- aneder hat fur den verstorbenen die EKequien halten lassen, wobey das Requiem vrelches er in seijaer; letzten Krahkheit komponirt hatte, exequirt vAirdeo Zum besten der IVittwe wird Herr Schikaneder dieser Tage eine Vorstellung der ZauberflSte geben," 2o ZO?. 5« mm, V2. ISO, 195. Pc 121, m-JMo 26th September, 17Slo BilF, V5.0 fno 3, Po ^18o M-IMo 1st August, 1781* "Gottlieb Stephanie, chiefly at Mozart's instiga• tion made considerable alterations and additions to this tezt." ' 4. BM, V2. No. 195« ' Po 121 o M-m 26th September, .X 1781 o " - mehr kann ich aber nicht davon machen - weil izt* die ganze geschichte* umgestfirzt wird - und zwar auf mein verlangen.*"

5o cf., Po I62(a).9p

6o ZT, ES, pp, 15^,243.

* As in Text, 127

Schikaneder bo2?e no further issue beyond 'Die Zauberfl6'te', as Mozart died in December, 1791. After his death Schikaneder continued to acloiOvvledee Mozart as a musician and friend, not only by. giving Kozart's vddow financial assistance J" but by producing other worlcs by Itozart in the Pteihaustheater .;aThougOie~recoignlzeO^^ Mozart's music, Echikaneder could not afford his libretti the same privilege. 'Don Juan' v;as performed on 5th November, 1792, and Daponte's Italian text Tias adapted in German by Christian Heinrich Spiess,^ Daponte suffered a similar humiliation on August 19th 1794, nhen the comic opera 'Die Schule der liebe oder So machen sie's alle' appeared as an adaptation by Karl laadv/ig Giesecbef The latter v/as followed on 6th September by 'Die Entfuhrung aus dem Serail' with the original text by Christoph Friedrich Bretznerf no mention at all being made of litozart's librettist Stephanie der Jungere. In the light of Mozart's insistence that Stejdianie should alter Bretzner's text considerably,^ the wisdom of Schikaneder's decid.on in the latter case must be doubted, although even Mozart was prompted on occasion to persuade Stephanie to revise his ivork.'^ Other works by PJIozart, which Schikaneder produced in his theatre, were 'Der Schauspieldirelctor', v/hich appeared July 15th, 1797?P°f^"i^»-*^^^^^ "'lieen'plaeed lh~T;iig^ramatT8 personae as -the Igiading, characters, 'la Clemenza di Tito',^ which was performed September 4th 1798, and 'Eine ld.eine Freimaurer-Eantate' (Ko625)t probably with words by Schikaneder/

Apart from the various productions of Singspiel and opera, Professor Deubsch's programme of performances in the Freihaustheater reveals a number of orchestral and instrumental ccHicerts, and mention is also made of the occasional 'Singabend»Thus, in addition to 'Der Hitter Roland', a heroic-comic opera adapted from the Italian of 128(a)

lo ZTa 26 ES. p. 154. 3. ibid.- p. 323. • 4. HJF. 73. p. 1172. fn. M-IM, 22nd December, 1781. "Peter von Winter (1754-1825), born in EJannheimj joined the Mannheim orchestra as violinist in 1775. In 1794 he became Vice-Eapellmeister to the riunich court orchestra, and in 1798 Kapellmeister, From 1795 to 1797 he had nine operas performed at the Burgtheater and Schikaneder«sriheatjWB_ in Vienna. He also com• posed a great deal of church music."

5« D. "Ignaz von Seyfried». 6. WTA. 1803. p. 66ff. 'Weuerbautes*. 7« ZT, TW. 'Chronologisches Verzeichnis aller Aufftthrungen am Theater an der I7ien,» 80 ZT. WTA, 1794. p, 188. "Bey den sechs Theilen der- 'beyden Anton' Oder des *dummen GSrtners', die jeder fifa? sich einen besondern Titel fHhren, bey der 'Schellenkappe" Oder dem "DeCTvisch" und bey dem "Stein der Weisen" componirten mehrere zugleich; man arbeitete an diesen Qperetten wie an einem Hause, und es ist nicht zu laugnen, dass diese Manier die allerbeste ist, wenn eine Oper bald zu Stande gebracht seyn soil,"

9o WTA, 1794. p. 188. iQi ES. p, 168, cfpo 73(a),9 11, WTA, 1794. Sonnleithner's criticism is inferred, Po 188, cfp. 128(a), 8. 1?8

fTunziato Porta by Gierschek,^ wiiich V7as given on the 9th ' January, 1792, Joseph Haydn was represented by one of his London symphonies in 1796, which was played between the tvjo acts of S'Sssmayer's 'Moses', and by a new 'VoUrit- ^ Jhpo^e?] called 'lied an den Eaiser', wliich was sung by the audience on 12bh February, 17971 prior to the evening performance, to celebrate the birthday of Franz II.* Gluck also maintained his place in Schikaneder »s reper• toire , , ~ One 6"f~taenmai^^ R imuslclanso j Other conteii?)orary musicians such as Henneberg?- Teyber,'' Peter jvon Uinter ^ and Seyfried^ received encouragement from Schikaneder and his siogers too v;ere rewarded for their efforts by finan• cial benefits from the occasional performance? One notable concert contained the works of Beethoven, Uozart and Haydn. It took place on the 27th October, 1798 and on that occasion the 'Grosse MusikaHsehe-Akademie' offered foua? arias "bj Mozart, one of them 'In diesen heil'gen Hallen' from 'Die Zauberflote'^ sung by Earl liudvjig Fischer, Royal rtpussian Eammers^nger and former Viennese Royal Opera singer; the ouverturo to 'Die Zauberflote'i^ a piano concerto by Beethoven, played.by the composer?^ and 'Die Beliebte Sinfbnie' by Haydn as the finale.^ Throughout this period there was a constant need for Schikaneder to exhort his own people to write and compose for the theatre, and as a result numerous works appeared, which bore his name or that of other members of the com• pany? On occasions the pressure of work demanded that the music be handed out to more than one composer? Thus, for one work, two composers are named, sometimes even three.® On one occasion Mozart's name was one of the throeThe practice.invited criticism^but it was a re• flection of Schikaneder's true appreciation of the Sing- spiel's, original form, that such measures were executed lH9(a)

lo ' C"f,p .LDo-pp.8S-85o ' LHo ppo85=.87« . DBo ppo87=89o ^ Soj 2^8 'pie zwSlf fippfissten BrfplgeVa^ 3p ES, p, 265. The request on this occasion \?0E made to Kaiser Franz, in April, 1800, 4o ibid, pb 266, AmZ, pp, 521-522. 5o cfp, 76, 6, ES. p, 265. 7o ibid. p. 265. 129

successfully. Different styles of music did not in them• selves detract from the performance of Singspiel, as it was initially the plot ivhich provided the unity. In 'Die Zauberflote* Mozart proved v/hat a master might make of Singspiel, but in doing so, he inevitably moved,[ / "Tbeyond^ltT origLhaily nal'^ conceptlOTu| In terms of quantity of performances Schikaneder ranked as the most successful librettist in Vienna. During his residence in the Freihaustheater the twelve most notable successes included eight of his om. works,^ 'Die Zauberflote' achieved tvjo hundred and tv7enty-three performances since it was given for the first time in 1791;^ then followed 'Der Tyroler Wastel' with one hundred and eighteen performances from 1796? 'Der Spiegel von Arkadien' with ninety-eight performances from 1794; 'Die Waldmanner' with ninety-sis performances from 1793, 'Babylons. ?yramiden' v/ith sizty-foiic performances from 1797? •Das Labyrintli' with thirty-four performances in the year 17985^ 'Der Konigssohn aus Ithaka' with t;;enty-nine per• formances in the year 1795?^ and 'Der iVundermann am Eheinfall' with fx7enty-six perfoimances since 1799. This record did not necessarily vouch for the quality of Schikaneder»s writing, but it did speak for the success of his campaign to caisider the tastes, musically and other• wise, of the Viennese audience. After offering for more than a decade a programme of unusual musical variety, Schikaneder applied to the Emperor for permission to make use of the royal privilege,^ which had been granted him in I786 by Joseph lit l>ut of v;hich he had then been unable to take advantage,^ Schikaneder's in• tention v/as to build a new theatre on a different site on the other side of the river Wient His application was granted in the terms of the original agreement whereupon 150(a)

1, PFW, »Das Freihaus-Theater spielt Opern', p,37ff' ES. pp, 266, 267.

2. ibid. p. 266. Braun's legal argument was that the permission granted to Schikaneder, "laufe dem mit dem AllerhSchsten Hofe zu errichtenden Theater- pachtkontrakt zuwider, in dem es heisse, dass niemandem ftir das Kfinftige weder die Ifirrichtung eines neuen Theaters in der Etadt Oder in den VorstSdten, ausser den schon bestehenden, noch wenneins der dermal bestehenden eingehen sollte, dessen ubernehmung durch einen neuen Entrepreneiir gestattet warden solle$ auch keines der ^etzt bestehenden von seinem Standort versetzt v/erden , dteei" The court discounted this argument as the 'Theaterpachtkontrakt', dated from only 179^9 Schikaneder »s 'Privilegium' from 1786. ibid, p. 266. 3o TW, 'Vor= und Baugeschichte'. , "o.odass er sehr viele, dermal im Fache des Theaters und der ISusik brotlose Menschen in den Nahrungsstand versetzen kSnnte und such„eifrigst bestreben^ werdemit den. von ihm auf zufuhrenden Theaterstucken die sittlichen Unterhaltungen der Kaiserstadt nicht nur vermehren, sondern auch bei seiner I'ruppe alle mogliche Qpdniing und WohlanstSndigkeit auf das genaueste zu beachten." (Sends 'Zur Geschichte der Theater ^Viens.' loBd. (1801-1820) Sonderabdruck aus dem Jahrbuch der . Grillparzergesellschaft 25.Jahrg. s«273o 3rd November, 1901.) 4. ES. cf., p. 269ff.

5. To 6'isr. Ts,

6o ES. pp. 266, 267.

7. ibido

8, cfo, 117-119. 130

Freiherr von EraujaJ Gcliikaneder's arch-enes^r^ and director of the Hof=: und STationaltheater, sought to upset his plans, thereby insinuating that Vienna could not support another theatre ^7ithout taking some of its custom away from his own establishment? Perhaps Schikaheder's initial insis-. tence that the construction of a new theatre would bring employment to a number of people' helped to persuade the courtf certainly he was finally allowed to continue when it was argued that lack of such a theatre would bring discontent to the lower class

If certaipinalnuatlonsin 'Thespis'J the Gelegenheits- Etuck with which ScbjLkaueder closed the Jteihaustheater on 12th June, 1801*^had any foundation in fact, a threat to the continued existence of the I^eihaustheater must have made itself felt, before Schikaneder decided to build,^ Certainly Freiherr von Bpaun strove to discredit Schikaueder in the eyes of the Viennese public and of the Austrian Emperor J' In so far as any such attempt was of topical interest, Schikaneder v/as never slow to spring to his own defence in realizing the conflict in terms of theatrical representation, so that ultimately the situation was resolved, at the very least, in terms of popular appeal and good box-office,* Kalistenes, in the play a member of the senate, is a character moved by avarice. Although it is no personal dislike, but merely his desire for financial gain, which prompts him to eject Thespis, that is, Schikaneder, from the theatre and from the, city, he is suddenly shaken from ^ his impersonal-moM^iaM^ when Schikaneder, after most proper and circumspect enqui3?ies, agrees to engage ristenes, unknown to him the son of Ealiscenes, in his company. Further unsavoury facts about iialistenes are divulged which enflame the situation. Eventually Thespis and his followers have no choice. They must cross the river and head for Athens, that is, their new site on the 131(a)

1. ESo p. 320. TWo »Vor= und Baugeschichte'.

2o To Isxxiio

cf., ES. pp, 269-272.

3. PFVJ. 'Das PreihaTis Theater spielt Opern'. p,37ff6 4. T"', »Yor= md Baugeschichte'. 5. ES. p. 265. WTA, 18C3o 'Heuerbautes'. p« 66ff. TV/. 'Vors und Baugeschichte'. 6* Bauer's attitude is not one of credibility on tliis matter. TW. »Vor= und Baugeschichte'.

7. TT. I,iii, cfo, p. 132(a)o 2.

8o ' WSko 18G3. 'Neuerbautes' * p* 66ff. "...wozu er von mehreren guten Freundeuj^ am moisten durch Herrn Zitterbarth unterstutzt und aufgemuntert wurde..."

96 ES. p. 326. On the opening night BSluerle reported ('Eaemoiren' 117). that Schikaneder and Zitterbarth had a violent argument, and after similar occurrences Schikaneder and his vAfe left Vienna from 8th August until 4th December, when Gchikaneder returned as sole director of the theatre. Disagreements arose probably as a result of Zitterbarth's ignocance in theatrical matters, (Ef5, p. 326, TW. 'Vor= und Baugeschichte') Schikaneder was of a friendly disposition, (M.Vl. cf., p, 136(a).6.)

Af;VK. po 522 o

lOo TT. ON, TSo 131 other bank of the Uien, although evil riimours already precede them there. The final quartet vMch was sung by . members of the company on the last night of the Freihaus- theater's existence, thanks the audience for itssupport. At the same time it advertises the opening of the Theater an der i7ien on the following day, 13th June, 1801J and exhorts the 'Wiedner' to patronize the nei"? buildings

"Der V/eg ist nicht zu weit, Der Fluss aiich gar nicht breit, Ein Sprung und Ihr seyd da!-"^ The day, on which the new theatre opened, Schikaneder re• mained in the role of Thespis and travelled in the 'Thespiskarren' towards his next abode The dedication of the Theater an der Uien, in the form of a design on the curtain, depicted Tamino fleeing before the serpent f This has been interpreted to repres• ent Schikaneder fleeing from his generous and rich patron, Zitterbarthf without whose financial assistance, the, con• struction of the theatre would have been impossible.^ Apart from the fact that discord in the management of a tbsatre is not the appropriate advertisement for its future prosperity, other evidence would refute such an interpretation? In 'Thespis 5h?a\am' Schikaneder admitted his friendship ?/ith Zitterbarth,^ whilst Perinet also listed the latter amongst Schikaneder»s friends.^ More• over disagreements which did arise between the two, occiu?red only after the safety curtain had been hung? In view of the import of 'Thespis' it is more than likely that the serpent symbolized the vindictive Freiherr von Eraun. The tableau, the opening picture of 'Die Zauber- flote', recalled Schikaneder's greatest success and marked the musical dedication of the 'Theater an der Wien'. 10 'Thespis Traum' provided a theatrical link betv/een 132(a)

v/ovon drei vor dem* Ti?iumphwagen ahgespannt v/aren, welcher ruckv/arts umstiirzte und die Sangerin Campi und den. Sanger Simoni herausvjarf, alles dies liess nicht einmal glauben, dass noch am selben Tags die Vorstellung stattfinden werde." 7o M, VI. Das Theater auf der Uieden, Castelli criticizes the vowel sequence »Du o Alexander' as_being an enticement to yamT cf,, p<_- 157.' Kbmorzynsldr~QesCTibes the text as 'pimp', SS. pp, 323 , 524. 8o OTA. 1803. p. 66ff. 'Neuerbautes'. T^^. 'Vor= und Baugeschichte«. 9o Kjomorzynski acknowledges this, "Die Handlung hat eigentlich einen sch^nen und fesselnden Grundgedanken," ES, p, 324. 10, AlWK, p„ 527.

11. ES, Po 324. A, Bidoll is 'Aufseher der Affen und Papageien' Makuro sings 'die ftbliche Arie des IVeiberfreundes' „ 12 o T17. 'Chronologisches Verzeichnis aller Auff^^hrungen am Theater an der "Men'.

13. ES. p. 328.

14o V/TA, 1803. P« 66ff, 'Neuerbautes', 132(a)

1, WTA. 1803'. p. 66ff. 'Heuerbautes», 2„ TT. Ijiiiri "Schikaneder! • ITo war ich? ivo bin ich? Wahrlich, das war mein schwerster. Traum, aber auch mein herrlichstes Erwac|;ên meiner ganzen Lsbenszeit. (Deutet auf ' die Busten). Diese drey Denkmahle trug ich lllngst schon in. meinem Herzen, und sollen ewig • unausl6'schlich in meiner dankbaren Seele wohnenb Nehmet meinen liank, Ihr Grossten, Ihr Gîtigsten auf dieser ErdeJ ^ Obne Euch, - wo wSre ich nun? - Auch Euch, Ihr Grossen, die Ihr am Ruder des Staates waltet, - Such unbestechbaren Sichtern, dank' ich demuthsvoll fur Eure Huld, - fiir Eure " Gnade, ^ Fur Euren gerechten Ausspruch. -^Dank dem ganzen verehrungswiirdigen Publicum, fur ihre Unterstfitzung, - ftb ihre Theilnahme meines Schicksals, Dank' dem Freunfl^ den ich aus Beschoidenheit nicht nennen kann, nicht nennen darf - der mir bisher seine hialfreiche Hand both. - Seit ich. Thallens rauhe Bahn betrat, fand ich mane hen rechtschaffenen Biedermann, aber, der so was Gri^sseres flip einen Freund ,, wagt, muss ein edles Herz besitzen, - Also, meinen Sffentlichen Dank auch ihmS - 0 dass es mir; Vergi hphen G6'mierJ Dies ist das Schdnste, was wir wuaschen kSnnen, -- wenn der Mann nach seinen Be3?ufseeschSften uns erheitertj - IVir wollen 3 a . gerne, - ich verspreche es hier feyerlich, - v;enn wirs vermogeu, Euch nach M&'glichkeit zerstTeuen. - Ifeben ivir diesen Zir/eck erreicht, dann ist dicser -Tenêl - mein Gltick - auf Felsen gebaut."

3, ES. p. 323. ' A o ONo Ts, UTA, 1803* Pb 66ff6 'Weuerbautes», TW, 'Vor= und Baugeschichte',

4^ cfpo 125. 5b ES, p, 325. fn, Mederitsch was also Grillparzer's piano-teacher, 60 EPW, 'Das Operntheater an der Wien, Eosenbaum, secretary of the ' Theaterliebhaber, reports in his diaries? "Die Eonfusion, das Erobieren und Arrangieren eines Marsches und der drei und zwanzig Eferde, 132

the closing of the Freihaustheater and the opening of the Theater an der Uien^ Thespis was revealed on stage as Schilcaneder, the impresario,^ who then alluded to the various'obstacles which had confronted tiim, and thanked- the GOin't for suriaounting them,^ The same evening an heroic opera. 'Alexander' was performed.^ The libretto was by Schikaneder and the music lofy Franz Teyber, who, with Johann Schenk^ and Gallus Mederitschf had been a pupil of Wagenseilf Originally Schikaneder had besought Beethoven to compose the music, but, after beginning some of the work, the latter eventually declined. It has been held that this was on account of the poor

13. ES, p, 34;;, TW, 'Chronologisches Verzeichnis'. i'irst performance &th February, 1802. 14. « SS, p, 305. First performance 31st January, 1801 i T\7. 'Ciiroiologisches Verzeichnic'. First perforiiiance 20'ch February, 1802. Repeated four times until 24th February, 1802. 15;* ES. p. 305o First performance 23rd February, 1801. T'v?. 'Clironologisches Verzeichnis', First performance 2nd April, 1802, Performed once only.

* In the light of the recent acemulation of material in Vienna since Komorzynski's research, Bauer's dates are more acceptable. 153(a)

1. ES. p. 328. 2. 17TA. 1803. p. 66ff. 'Neuerbautes'. Komorzynski does not note that the payment of 50 Gulden applied to Schikaneder and his wifeo (SS. Po 328). The same twofold payment is reflected in Schikaneder's^^song as Papageno, "Ich v;eiss, was zi7eymal fiinfzig sey". This v;as a second version by Schikaneder to celebrate the anniversary of the opening of the Theater an der Wien and was sTmg by him in a performance of 'Die Zauberfl6'te' given on 13th June, 1802. WTAo 1803 o. Po 105. 3. TU. 'Chronologisches Verzeichais aller Aiifft&irungen am Theater an der Wien'.

4o, ES. pb 334,

5v ibid. pp. 534,.335, 336, 357.

6o T^7.

7o. ES. pp. 303-305,

8. ibid, p* 332o

9. ' ZB2o p. 180..

Mil • lOd ES. p. 33i. pp. 232--243. lip ibid. pp. 521, 517« Nevertheless it only achieved 18 performances between the years 1801 and 1837, (TW, 'Chronolo• gisches Verzeichnis aller Auffuhrungen am Theater an der Wien.) and was whistled off the stage even in Schikaneder»s life-time. (ES. p. 335). 12o TWo 'Chronologisches Verzeichnis aller Auffuhrungen am Theater an der Wien'. WR. achieved seven performances from the 18th Aiagust, 1801 to the 4th March, 1803. BP. achieved ten performances from the 1st September, 1801 to the 2nd February, 1805, ES. BP. pp. 295-502o 133 .

director of the theatre? For further services to the theatre he was well.rewarded. In addition to his being ?tf . paid] 100,000^ Gulden by Zitterbarth for his shares in SZay,. Schikaneder received a further 400 Gulden for an opera and 200 Gulden for a comedy^ Both he and his wife wer^rgia^50'Gulden each time they appeared on stage The rate of Schikaheder's payment reflected the continued musical trend of the theatre's programme? Freiherr von Brsun, who assumed,management of the theatre from 15th February, 1804,^ until 13th December, 1805,^ had in that time to suffer the humiliation of recalling Schikaneder to save the theatre from bankruptcy.* Following Sonnleithner, from September 1st, 1804,^ until the 31st December, 1806,^ Schikaneder assisted his former enemy

Bauer's 'Oironologisches Verzeichnis aller Auffuh- rungen im Theater an der Wien* reveals a preponderance of works by Ecliikaneder, amongst them an increasing number of lokalstucke.® Schikaneder persevered too xTith comic opera. The production of the second part of 'Die Zauber• flote', entitled 'Das Labyrinth'7 was so successful in its splendour,® that the first opera had to be re-staged to avoid its being set at a disadvantage? The success of 'Die Zauberflote* continued and it was frequently, though not always with the same effect, produced outside Vienna.^ 'Der Tyroler Wastel'^ maintained its popularityj whilst 'Der Wundermann am Eheinfall'^^ and 'Bal^lons I^amiden*'^ enjoyed only a degree of success. I7ith a similar effect Schikaneder performed in 1802 a further four musical items.of his pvn. These were 'Tsching! TschingJ Tscliingi , a Singspiel in three acts with music by Haibel;^ 'Proteus und Arabiens SShne'^'^with music by Eeyfried and Stegmayerj 'Kbnrad Langbart von Friedburg'y* a 'ritterliches Siugspiel'^ in three acts with music by Jfenneberg; and, a relic of 179^, 'Der genijg bearoeitet ist. - Die Handlung beginnt in den \7aldern von libanonj im mejten. Akfc sind wir zu Bagdad, im dritten zu Tuniso Hatten doch a lie Dicliter so einen Dexua ez machina? - Cbcron hat wenig in dieser Oper zu handeln. - Die SpSsse eines Sherasmin sind eckelhaft - die Masik ist alt, und nicht; angenehms das Ganze ^vird durch eine Gemeiiiheit geflihrdetj die in.dcr Dichtung und dem Gange der Oper zu Eause ist. Das elnzige v/as hier J^T7abnuns verdientg ist die Vorstellung und der schone Palmonhains, vortrefflich gemahlen von Herm Czermack einem Scb-filer des beliebten Gail.o.." Ist Augusts 1806.

12, ES, po 335o

13o ES. p. 335. 14. ibid. pp. 33M35. 9Der ireinititige', 1804-. Nr. 99. "Das PublLlcum bat seine JTeigung f\h die Zauberopern ganz verloren," 15o These were often adaptations of Hafner. AWVK, pp. 546-550. 16„ ibid. pp. 5^1-572.„ 'Die neu6 Zauberkomodies Perinets Singspiel- KasperlLaden und Henslers romantisch-kojaische VolksmSrchen,» 134(a)

E.?. ppc 231-287. First performance 14th November, 1794. TU. 'CiiroQologisches Verzeicbnis*. Perfonaed on thirteen occasions between April 22ad, IS 02 and IHay lOfch, ISW, 2, ES. pp. 286-287. 3, ibid. p. 325ff. 4, Beethoven conplained of the slackhess at re- heorssls but Komorzynski \70uld maintain that things of greater historical import were at X that time maldng themselves felt in Vienna. Hev/s of napoleon's crushing victory over General Mack .at Ulm reached Vienna on October 20thJ 1805> v/hich is ample cause for Vienna's indifference towards Beethoveno ibi^^ Top, 339-340. iThG ." :i799 publication the Bl&GldaiiepjL©ttera^ . ' ^_ ireflects the city's apprehension concerning' the Itench advance: The French have crossed the Rhine (5. Heft« 4. Brief, p.48) "Alles plaudert franzSsisch" (6 Heft, 1. Brief, p, 7), news of the horrors perpetrated by the R?ench in Tyrol has reached Vienna (7 Heft. 3. Brief, Po 27). Schikaneder's performance of 'ScharfschStzea in Tyrol' donates 500 Fl. to the unfortunate Tyroleans. (10 Heft, 5. Brief, p. 23), 5o AWVK, p. 522,

6o ES. po 430. ^7 tliis time Braun had succeeded Schikaneder at the theatre. AWK, p, 522o

7, ES. pp,340-541 o Vl'/V, p. 56, 8, ES, ppo 340-341, 9, EFW, 'Das pperntheater an der I7ien«. lOo ES. p, 341, 11. WTZ. 1806. SU, Boltharts "In alien auslSndischen \and inlSndischen Journalen ist es v/ohl schon hinlSnglich v/ordenj dass Wielands Meisterwerk erbarmlich 15i*

Spiegel von Arkadien»,^ an heroic-comic opera in tm acts v/ith music l3y Sussmayer .^ Other comic operas continued . to appear until 1806, but Schikaneder's popularity was declining,^ Brave, but not very successful attempts were made to maintain the high musical attainment of the theatre Some of Beethoven's \7orl5S were performed in the theatre during this periodincluding the first performance of his oratorio 'Christus am Olberg" on the 5th April,, 1805,^ and of 'Fidelio' on the 5*Ii November* of tho same year* latter was ;iudged a £ allure 7 i*Ziti0~*MIgeaiBine '••^ r-toikallBOhe Zeltung* which now eondeianed Beethoveno had -êarlier eonaeimed^hlKMieaern ami the latter was to W " [cpltiei8M""a8aiâter^^^ same Jouni^lJo In the ne3d; decade of the nineteenth century, Franz Schubert ?s opera »Die Zauberharfe" had an unsuccessftil premiereôn the 9th August^ 1820." Beethoven's violin concerto in D Maoor, op, 61., was performed on the 23rd December, 1806.^ Schikaneder's lack of inspired success in 18(^ was perhaps most appropriately reflected, and perhaps in part explained, by the reaction to a nev/ adaptation, in the Leopoldstadttheater, of the once popular 'Oberon, KiSnig der Elfen', which, after tlie premiere on the 26th August, was produced only eisht times *^ Schikaneder's very successful ?ingspiel »Der Tyroler Hastel' v/as whistled off the stage »Swetard*s Zaubertal* laanaged to impress theatrically, but the libretto was described as nonsense*^ Apart fJ?om the apparent exhaustion of Schikaneder's originality, several other factors contributed to his downfall. I ~ ]i Di accordance with the recorded opinions of the Viennese theatre audience it now appeared that the latter still pursued its desire to see something new/^ Schikaneder was no longer new. The recent sudden upsurge of extremely popular comic

•tf lb operetta by Hensler and Perinet in the lieopoldstadt- 135(a)

lo AWVK. ppo 541-572.

2. ES, pp. 336-337. As early as November 21st, 1795? criticisms became audible, which v/ould indicate a certain unsoundness of mind. Thus, on that date, ihe 'Rheinicche Ilusen' (59295) ccaidemned the first performance of Schikaneder's "Der Hollenberg oders Ecufung una lohn" music by J. Wolffl, as »eine Zusammensetzung des abenteuerlichsten vVirrwarrs, der such denken lasst.' ibid, pp. 294-295. 3. ibid. p. 347. 4. ibid. p. 345. cfo, P-i_134(a)4o

5. ibid, pp. 154-164. 'Das Ensemble des Freihaus- theaters'.

6. cf,, pp. 579 150, 151. 7fl' cfpp, 57-119. 8, M, VI. Das Theater a-of der lUeden. "Schikaneder war ein herzensguter Mann, der.... zwar keine grosse Gagen bezahlte, aber " EDB. 28. Heft..2. Brief, p. I6ff. 9p Madame Campi, Herr Simoni. ES. p. 325. Madame Hofer was engaged by Schikaneder on the 9th October, 1790 and had previously been a • member of the Hoftheater. - ES, p. 159.

am. p. i28„ lOo Periiiet's name appeared in the case of Schikaneder»s •Thespis', which was performed on the last night of the Freihaustheater's existence in 1801, SET. Ts, tp. The famous 'Charaktorkomlker», Anton Hasenhut, was engaged by Schikaneder on the 23rd April, 1803, after the former had lert the 'Leopoldstadttheater'o p. 56.

11, ES. p. 154o 135.

theater had, moreover, taken some of the freshiiesc from . Schikaneder's musical and local appeal, appearing as thsj did shortly before £chikaaeder's occupation of the Theater an der Wien.^ It might even be mooted that the extreme lavishness of his later productions* reflected already the approaching insanity, in vMch he finally died, on the 21st Septemoer, 1812 f As early as 1810, paying fitting homage to Napoleon's recent advance towards Vienna, vjhich was accompanied by the pillaging of, symbolically, Nussdorf * where Schikaneder had his private home and possessions J French opera was again firmly 'eBtaTji"tihed~lh " the Austrian capital, on this occasion, in the Theater an der Wien^ 1 The success of German Slngsplel ana opera Ihafl not l>een..a' last ing one •

One of Schikaneder's undisputed talents v;as his ability to recognize musicianshipIn conounction with his own musical gifts, it was his manipulation of the talents of others, v/hich contributed to his success in the production of Singspiele, Ji3ven in the early '.Vanderjahre, Schikaneder proved his skill as the manager of a company,7 and his esperience did not fail him in Vienna, The talent of Schikaneder, the impresario, for en• listing musicians of quality, was reflected not only by the high standards of his singers, but also by the true musicianship of his orchestra and its leaders. Quite remaricably, singers and musicians from the Hof= und Nationaltheater, which paid its employees far more than Schikaneder did? moved to the Freihaustheater® and Theater an der Wienf as did artists from the leopoldstadttheaterf C6ae authority has elaborated on the high standard and size of Schikaneder »s orchestra in the Freihaustheater 136(a)

1. • ES. - p. 224. 2. ;:^ cfibid. Po 154.

3. ibid. p. 222o '

4. ibid. pTO. 222-223i YIUU p." 755. "I7enn wir ein Rialheur haben, so kann ich nichts dazu, denn eijie Zauberoper habe ich noch nicht komponiert." 5o cf., pp. 6^Ka). 5* 64(a). 6j 127(a). 3. 6. M. VI. »Das Theater auf der 'Jieden'. , ,daher .sah er auch vor Allem darauf, bei seinem Theater schone Schauspielerinnen zu haben, und fragte v/enig darnach, ob sie auch gute waren, Er verstand es, selbst Madehen, die er aus dem bfirgerlichen Leben herausnahm und auf die Bflhne brachte, so zu verwenden, und ihnen meist selbst, solche Rollen zu schreiben, dass sie dem Publicum sehr bald gefielen und am ilinde sogar lieblinge desselben warden..." "...ein herzensguter Mann, der... .besonders jiange AnfSnger su poussiren verstand. KSrperliche V/ohlgestalt gait ihm vor Allem als Grund zur Aufnahme bei seinem Theater...."

7. EDBo 1796. 25 Heft. 3. Brief, p. 22ff. 8. ES, p, 11. "Deutsches Theater und deutsche Scbauspielkunst im achtzehnten Jahrhundert." 9. ibido p. 151. • PFW. »Das Operntheater an der Wien'. It i£] alleged that Schikaneder composed the follow• ing ode to himself: "aiilliononfach gesegnet sei Dein Los, Du IJensch, als Ifdme wie als Dichter gross, Du Mensch, der Vater Deiner Schar, Sei glUcldich viel lange Jahr'J" 10^. ES. pp. 162-164. 11 o ibid,, p. 164 i 12* ibid, p 6 1636 136

A similar confidence in SchJ-fcanoder »s reUabllity made itself manifest during rehearsals for the first perfom- ance of 'Die Zauberflote •, Prom the middle of August until the middle of September Hozart was away from Vienna pre• paring his 'La clenonza dl Tito'J and Hchikaneder arranged for Ilenneberg^ to conduct the orchestra during his absence. Ilozart composed the ouverture as late as 28th September, t\7o days before the opera*s first perform-, ancei' To begin with, the opera was certainly not wildly acclaimed, but no criticism was raised concerning the quality of Schikaneder's orchestra, nor of its particular rendering of the surely under-rehearsed ouverture f Nor did Mozart complain about Schikaneder *s lilxretto, as he did about the material for his earlier operas.^ His aruciety on the evening of 'Die Zauberflote's' first per• formance Was not prompted by doubts regard lag the profic• iency of any part of Schikaneder's company, or of his orchestra, nor by doubts of the latter's mastery of his music. EH.S concern was for the actual genre 'Zauberoper»o"*"

Good looks influenced Schikaneder to a large extmt in his selection of nev; members,* which undoubtedly re• flected a true assessment of the Viennese audience's theatrical ideals,^ Castelli, who reported this habit in his memoires, appears to disapprove. Youth was an advan• tage so that the pupil might remain pliable for the master, a The economic demands of his profession*^ required Schikaneder, at the same time, to consider the actors and singers at his disposal and vTlte parts to suit their individual needs,® g Often described as the father of his company, Schikaneder was strict in the application of rules of conduct for each member of his theatre, including the orchestrai;^ Fines in forms of salary deductions were im• posed and after two fines an offender would be dismissed from the theatre!? Although Eaadame Hofer v/as Mozart's 137(a) lOo Madame Hofer si,^;hed the contract to join .'.the Freihaustheater on 9th October, 1790. It was a written agreement between herself, Schikaneder and BauernfeM, AMF. p. 12». Mozart d6sci?ibes her as »eine faule, grobe, falsche Person, die es dick hinter den Ohren hat* EL". p. 15s, 11 o LI, VI. Das Theater auf der wieden. She won fame as a 'Koloratursopranin', Es. p«159o 12o Vlo Das Theater auf der Uieden. "...und da sie besonders im Staccato in den hSchsten Chorden excellirte, so hat er auch fur die EBnigin der.Nacht geschrieben und darum in den beiden Arien die Staccato=Passagen angewendet."

13 0 ES. p. 158. cfo, p. 70. 14 o In the first performance of Schikaneder's 'Die , Zauberfl8te», he appeared as Papageno, his elder brother played the first priest, and Castelli adds to tills the name of 'Hanny Schikaneder', taking the small part of the first genie^ ZB, «Zur Geschichte der Oper'. p. IV. M, VI. Das Theater auf der IVieden. cf., p. 70. 15 o AP.IP. p. 126. 16o Joseph Haibel, tenor and composer, husband of Mozart's youngest sister-in-law, Sophie, was also engaged by Schikaneder, ES. p, 159o 137(a)

1, AlfP. p. 128. 2c' Mo VI, Das Theatei; auf der I7ieden« X- "...ein herzensguter Mann, der immer offene Taf el hielt WAM. p. 759. Schikaneder invited Mozart to aoveral parties: 'Mt denen der Textdichter seinen Komponisten bei guter Laune zu er halt en suchte. Da mochte es wohl ziemlich frei z\-!gegangen seinj und Mozart v/ar, wenn auch sicher mehr in Vibrten als in Taten, kein Spielverderber." 3. WTA. 1803. 'Heuerbautes».. po 66ff. "Die Vorliebe der Mitglieder f{!r ihren Leiter, und .fiir die Kunstj zeigte sich an diesom Tage wo der Bau,^bogann; denn alle vom Kleinsten bis ztam Grossten legten, unter Harmonie, und lErompeten und Pauken, Hand an das Werk, und gruben die ersten Schaufeln Ebcde, zur Grilndiang ihres neuen schfinen Tempels aus, vrobey es an Zusehern keineswegs mange It e." ^o M. VI, Das Theater auf der VJieden. --^ "Schikaneder v/ar ein herzensguter Maun...." "Auoh''schlkaned,e^P der Dlrectbr, ellT^wenlg "tiange^&enV 1 jwar^lnnig, herzliohpf offen, gespr8chig, llebenewiirdtg, 5o cf., p. 156. JilS. p. "Herr Direktor Emanuel Schikaneder ist in der Wahl seiner Stilcke nicht hur sehr sorgfaltig, gondern weiss audi jeden seiner Akteurs durch seine gehtfrige Eolle in sein wahres licht zu stellen und hat sich also als Direkfcor eben das Lob schon erv/orben, das er sich schon iSngstens als Schauspieler erworben hat." (^Theater journal f

sister-in-law, the same law applied to her as to Schikaneder's brother.^ Even Schikaneder appears to have behaved very discreetly in Viesnna and apart from his sociable fondness for parties^ little has been laid against him. As a mark of the successful managemsnt of the company and the prevailing good will, Schikaneder's employees willingly participated in his scheme of propaganda and did their o;ii share of digging at the foundations of the Theater an der Wien? • Schikaneder'8 nature has Iseen descrilaea as that of a generous and kind-hearted man."4^ From the point of view of his craft he. knew how to recognize talent, acquire it and develop it according to his own ideals,^ Consequently, Schikaneder attracted a diversity of singers, a&tors and instrumentalists to his theatre? The musical side alone reflects Schikaneder's ability in this 5 Benedikt Schack^ the original Tamino,,tenor, flautist, and close friend of the Mozart family^ and Thaddaus Gerl,^ the original Sarastro, earned themselves a name also as composers? Madame HbferJ° who eventually married Sebastian Mayer another iaentoer of the company, is des• cribed as ' Br avour Sanger in»which would commit her to the intricacies of Italian opera, rather than to the naive limitations of Singspiel. She excelled in staccato sing• ing in the high register?^ Despite appearances to the contrary, possibly arising from the portrayal of Schikaneder's character as drav/n by Stephanie der Jungere in the libretto of Mozart's 'Der Schauspieldirekfcor', the history of membership of Schikaneder's companies, ,and this is also characteristic of the companies of the German ^/Janderbuhne, reveals that Schikaneder did not believe the ties of love and family to be incompatible with a theatri• cal calling and dedication, Schikaneder's brother^* and niece. Mozart's sister-in-law,^ numerous married couples}^ 138(a)

1. cfo, pp. 62, 70, 74. M. VI. Das Theater auf der I7ieden. 2o. ZB. 'Zur Geschichte der Oper'. p. IVo il. VI. Das Theater auf der V/ieden.

5o LS. pp. 243, 244* 4, a. VI. Das Theater auf der IVieden. "erste Sangerin".

5". WAM. p. 772. ES, p. 159.

5, ES. pp, 243, 159.

7. ES. p. 159. 3. ibid. p. 244, 9. r.l6 VI. Das Theater " auf der IVieden, TUst. 6'N. Ts. ES. p. 159. 10. M. VI. Das Theater auf der Tieden. '"^ Ho ibid.

12. ES, p. 154, 13. M. VI. Das Theater auf der ^Vieden. D. p. 5. 14 0 _p_o _p. 3 jHowevern Tfozart died iiT 1791^-ana""se/g^ was ttten only 115 years oldo AV.'VKoPPo 981^9837^

15. ib^S".^ „^ 166 ibid. PP 8, 17o ibid, ppc 5? 60 appeored on tho list of l^cliilranoder'g personnel, as, of ; course, did his oxm. vXfe^ Gerl's wife played the part of PapagGna, Fraulein Anno Gottlieb, of whose tragic life Konorzynski gives a detailed accountf was for a short time the 'prima donna' of the .T^rcihauctheaterf .lôpe ooitting to the theatre she had_:sung ttozarl* e_ - ^rl&arina In 'Le Wzze di ^Blgaro'Jat the ageôfû0lve,5: iPrlncesB AmaMenLiO?ranitzky^^ of fifteentf^~8ma~th9n aa a vmêv pg the ' Sipelhauatheatgr^j J i rm 'Pie! Zaiiberfl^^te' at~tlie~age of~sevehteerirf She was Ltozort's favourite pupil'' and was so attached to her teacher, that she foreswore singing after his death in 1791T In 1792 Anna Gottlieb left Schikaneder's theatre to ôin the Leopoldstadttheater as an actress only? Herr Haibel^ sang small parts in Singspicl and composed the music to Ccliikaneder's successful lokalstiick, 'Der Tyroler I7astel'? Herr Stegmayer achieved moderate success as a composer and librettist, but is extolled by Castelli for his later influence on, for instance, Nestroy's 'Sulenspiegol'J° His test ^'.Vladimir von Nowgorod' was set to music by Bierey. The two i&apellmeister at the theatre were HennebergJ* who rehearsed 'Die ^-aubei'f iSte • and Ignaz Eitter von Seyfried^ v/ho composed church music^ and was an ex£Lellent_tfiacjifiE_o.f composition? He v/as a pupil J ;acooraing__to _one_ aj2thority'i4 of Mozart^^ânS^yEjie^rriiis wo^ Generally, Seyfried's works for the theatre were vei"y successful although it is reported that his magic opera 'Uhtreue aus liebe' failed in 1805 because of Schikaneder»s librettoEarlier, in 1797J Seyfried composed the music to Schikaneder's 'Dor lowenbrunn'f but 1799 v/as a better year for him, vAien he recalled hov/ delighted he was to be brought on stage by Schikaneder jl7 "Schikaneder als Verfasser des Textes fiihrte mich personlich vor, sprach in meinem Namen'herzliche Worte des Dankes 139(a),

1, D. pp. 5« 6, 2, • libretto by Giesecke. AWK. pp. 519, 988. 3, • Libretto by Hensler. ' ibid. p. 489. 4o Libretto by Schikaneder. ibid. p. 469. ES. p. 357. 5. libretto by Schikaneder. ES. p. 357. 6. libretto by Stegmayer. " AWVE. p. 528.

7o- ES. p. 357. • It was on account of the success of this opera, that Seyfried was summoned before the audience, cf., 138(a), 17.

8, D. p. 9. 9o Mo. VI. Das Theater auf der Wieden. 10. Simoni, a Czech, v/as employed at the Hoftheater ' until 1801, alongside Madame Campi, v/ho vras sometimes called Polish, sometimes German. They v/ere both bad at German.

ES. p; 525. cfp. aj55Ca), 9. a?aun»s insipid attempt to produce 'Die Zauber- fl^te' on January 4th, 1801, included Simoni as 'Tamino', and Madame Gampi as 'Sbnigin der Nacht', ' ES. p, 326, 11 o Mo Vlo Das Theater auf der Wieden. 139

und empfahl den jungen Anfanger der ermunternden Huld des Publikums. Ich fiihlte mich unendlich gliicklich."* •Der lowenbrunn' v/as praised musically^ and Seyfried be• came quite prolific in 1799} composing the music to the operas 'Die Pfaueninsel'f 'Amorsfliigel', 'Hinaldo Hinaldini'f 'Der Kirchtag zu Mosbrunn', 'Die Ostindier vom Spittelberg'J" 'Mina vnd Peru'f 'Der rote Geist im Donnergebirge'® and the opera for v/hich he received the above distinction, 'Der Wundermann am Rheinfall'T In the spring of 1806 Seyfried provided the music to the opera 'Die Samaritanerinnen» which became a 'Cassastiick'? Seyfried's Singspiel 'Zum goldenen l6'wen' was written in the same year and retained on the programme of the theatre for more than two decades,^ The Italian tenor with the 'pov/erful voice', Herr SijQoni, who sang the title role in Schikaneder's 'Alexander', is chastised by Castelli for his acting and his torturing of the German language, but praised for his musical tricks. Simoni's usefulness in Schikaneder's theatre appears to have been somev;hat restricted. He was not suited to French opera, and, as the German he uttered was incompre• hensible? the Singspiel and its various progressions, in which understanding of the spoken word was vital, could offer him little solace. Herr Simoni and Ifiadame Campi were both originally employees of the Hof=und Nationaltheater/° The latter, an Italian coloratura sopranoV was reputed3y a brilliant singer She had sn 'etwas spitze Kopfstimme' and masterly 'Kehlgelaufigkeit'^^ and her singing was praised by Gastelli as »das musikalische Feuerwerk'/^ qualities which enabled her to sing the part of 'Konigin der Kacht' in its original key.^^ Her singing in that role reminded Castelli of 'springende Perlen'," If Kozart's satire of Italian 140(a)

1, cf,, p. 147ff. 2o M. VI. Das Theater auf der Wieden. 5o M. VI. Das Theater auf dor Vlieden. "Dritter Genius Herr Maurer (nachher beriihmter Bassist)" 4. ibid.

5o B, cf., pp. 138, 139. 6o M, VI. Das Theater auf der r/ieden. 140

bravura singing was deliberate in his conception of the musical part J then Madame Campi provided him with an . admirable exponent* In addition Madame Campi sang the parts of Donna Anna in 'Don Jiian' and fonotanze in 'Die Entfuhrung aus dem Serail'l Castolli notes the limita• tions of her acting.^ The third 'Genius' of the original cast of 'Die Zauberf lote', Herr Maurer, eventually xjon fame as a bass singer, Sebastian Meyer, not very significant as a bass singer, vas a good actor and very influential as director of thv3 opera at Schikaneder »s theatre.'*' Castelli regards • the recent improvement in Viennese musical taste as being entirely due to the efforts of this mans "Niemand hat in Wien fur die Verbesserung des Geschoiacks in musikalischer Hinsicht so Bedeutendes gewirkt als er".^ Partly as a result of Meyer's devotion to the service of music and the theatrej the Freihaiastheater even surpassed tlie 'Hofoper',* By his efforts French opera was brought before the Viennese audience in German form.^ As 'Opern- regisseur' he gathered his own assistants around him,: Castelli and Joseph von Seyfried translated the French libcretti into Germanwhilst Ignaz von Seyfried f who had a reputation as a contrapunctalistf often orchestrated or composed single items for him. In this manner the worls of Cherubini, Cateiji Dalleyrac, Mehul, jBoieldlgut and . Isouard appeared at the Freihaustheater * 'lodoislca' j 'Eemiramis', 'Der Bernhardsberg»^ 'Der Thum von Gothenburg', 'Johann von Paris'^'Aschenbrodl', 'Die beiden Fuchse', 'Johanna' and 'Die vomehmen ^SLrthe' ivere directed by Meyer and the productions were noted for the success of their singing. Castelli vouches for Meyer's sincere musicianship and an enthusiasm for mvi: which compared well with Schikaneder's ownf With Meyer as •Opernregisseur'* 141(a)

9. P.FV/. Das Operntheater an der VJien. "BeGreiilicherweis© hatte der Srbauer dies Theater audi ait so in en aus pralrbischen :S3?f ahroingen neu konsoruirten technischen Tricks ausgestattets die 18 ZuliKsen ivurden nichb, x7iG Msher ZTJT Seite geschoben, sondern sie kamen aus dem hohen £;cha{irboden herunter, m dem sie dann rascli hinauCgezo^ên i^-erden konatea. ¥±t Flugvêrken zum Gchnurbodcn und Versenkungen zur Unterbuhne, die als Depot diente, war nicht gespart ivorden. Bisher v7T:rden"die Vorderkurtinen (die vorderen 7orhange)B so fcerichte Pifuerle, um mit dem iiblichen Ausd2?uck zu reden, 'gespriaisen*, das heisst, mel bis v drei Kerles packten den Strick, der zum Empor- zieiien deselben nothwendig v/arj und sprangen damit yon dem Schnttrboden auf das Podium, v/odurch ihre Last die Leinwandflache empoirollte, ELer vertrat ein Flaschenzug gerûsch-j und was noch mehr ist, gefahrlos dieselben Dienste."

X 1. M. yio DUG Theater auf der T/ieden. 2. cfp. 136. X 5, I'L VI. Das Theater au.f der IVieden, £chikan.eder became manager of the BD-lioner Stadtt heater from L^arch 22nd, 1807 s ^mtil Easter, 1809. E£. pp. 5^-i-3--5'l5.

56 cf., pp. 122-177. 6*- Komorzynski places Schikaneder's last works for the stage in the year 1808. ES, p. 357. 7ii PIT?/. Das ODerntheater an der Wien, "2200 Menschen fasste er, 700 Sitzplsltze in bequemen Pauteuils \md fast doppelt so viel Stehplatze, die in der abgeteilten Ha'lfte des Parterres und in den vier Galerien Platz fanden*" The depth of the stage measured 13 metres^ but ^ this could be extended to include a further 10i5 metres, (ibid*; \A TW. »Vor= und . Baugeschichte*.) Even then the rear doors could be opened to include.the street ('die Dreihu- feisengasse») in certain, »Massenszenen». The stage could hold 500 players, (ibid.) In depth the stage of the Leopoldstadttheater measured 10 metres,, that of the Hêihaustheater 12 metres, and that of the Josephstadttheater only 6 metres. (TW. «Vpr=:und Baugeschichte».) 8o PFW. »Da3 Operntheater an der Wien». ' "In Kaiserblau, Silber und Gold war das ganze Haus, waren die Briistungenj die Karyatiden, Plafond und Frosze]||ium gediegenâusstaffiert; schvi;erseidene Vorhahge mit Borduren a la grece drapierten sich in den Iogen« besonders reichlich in den von Doppeladlern bekro'nten Hoflogen^ Medaillons zierten die Parapette, Akustik und pptik waren an alien PlStzen als besonders hervorragend genannt, die vielen Kerzen des Eronleuchters. der Armleuchter und Kandelaber sollen den wexten Eaum fast taghell erleuchtet haben." 141 the Theater an der îon becanG the most popular theatre in Vienna.^ Like Schikanederf Meyer uoderstocd how to place the right person in the right parti" In this way, I'irauleia Buchwieser, only a moderate singer, gained a great degree of popularity in the part 61 the princess in »Johann von Paris'.* Similarly, Herren Cache, Schmittmann and Scholz, although not primarily singers, v/ers used by Eleyor very effectively in comic operas, in which he knew the ability to act was more important than the ability to sing. £cholz was even known to crow.* Lesser known names in Schikaneder's theatre were Herr and Frau Forti, »ein liebliches Sangerpaar'f ESadame Porti v/as very successful in the part of Chcscubino in Mozart's »Figaro* and of the cheeky page in 'Johann von Paris'.^ Herr Ibrti had a pleasing bass voice and excelled in the part of thevCâsrt in 'Figaro'.* The êanev family provided Schikaneder with a certain quality of singing and acting. Of the tv/o brothers one sang in the Theater an der Wien, the other in the Hofoper.V In his ovyn theatre each played the seneschal in "Johann von Paris'.^ Of the three daughters, Josepha vjas a good actress and singer and distinguished herself in the part of »AGchenbr6*dl' in Isouard's opera of that name, when she was only sijcteen years old.^

From 1789 until 1806^. Schikaneder had given to Vienna large quantities of German Singspiel in a variety of new guisesf He had played his ovm. part in the creation and production of immortal works f partly by provid ing artists of the theatre, with a new building of comparatively large proportion^ brilliant decor and sensible technical innovations, partly be impressing his theatrical ideals on the members of his company, so that they might offer of their best in the field of music, in both composition 142(a)

lo cfpp. 78(a), 3o L-^a(a)4; 1^2 and exGcutrl.oh. rhoro only moderate talents v/ore avail• able, Fchikaneder, and under him Sebastian Heyer, used those talents to the full, educating them in the ways of the theatre as they did so. Upon the advent of Singspiel in the repertoire of the German ^anderbuhne, the actor had, of necessity, been made more conscious of music. Now, in Vienna, musicians of note nere being made av/are of the opportunities, which an adventurous theatre, and its enterprising director, could offer them, so that the conception of opera as a fusion of music and drama and theatre^ vi^s at least no longer an impossibility. b.

SCHIKAMEDER'S CQgrTRIBUTIOKF TO THE SIWGSPIEL 1^4(a)

1. OTA. 18C>, p. 6^. "ESun Beweis, v/ie sehr das, so oft mit Unrecht verscijrioene wienerpublikum, Recht und Unrecht, auf dem ffiieater unterscheide, dient folgende Thatsache, Das Stiick eines Autors missfiel gSnzlich, und v;ard total ausgepocht, obschon man den SchauspiGlern bey der Auffi^hrung Gerechtig- keit v/iderf aaren liess, Urn aber auch ganz darzuthun, dass diese Beschimpfung nur dem Autorj nicht den SpeleMen gait, so empfing man Tags darauf, in einem anderen Stucke, alie Echauspieler, die in dem voruagMckten ^tucke zu thun hatten, mit ividerhohltem Handeklatschen. Eine Behandlungp die V/iens Gerechtigkeit und Delikatesse Eiire macht."

2. ES. p. 165. In 1790 Schikaneder performed Killer's 'Der lustige Schuster* and his ovai 'Die Icrranten'. ibid.

3. Ki. 6*W. Ts, cf,, pp. 85-87.

4o cf,9 pp. 96-100,

5o ES. p. 166. ZT,

6. ES. pp. 152, 166. AlWK. p. 46i^. VT.fV. p. 51. 'Im Jteihause und an der IVien.'

7b ES. po 152. 8,, ibid. pp. 152-154. ZT,

9o ES. p, 152.

lOo AWE» p, 464. Tliis authority maintains that by I795 the theatre no longer had any 'Antonsstiicke' on the programme „ The seventh was performed only twice, so that Rommel concludes that they were a failure. 144

In Vienna Schikaneder had to cater for the tastes of a more particular audience* than the one with which he had been familiar as manager of a touring company of the Wanderbuhne, Accordingly the naivety of the series of Singspiele by Killer prevented their lasting inclusion in the repertoire of either of Schikaneder »s tv;o theatres5 The sheer rusticity of the affair betv/een, for instance, lottchen and Gurgef would not readily conform to the demands of 'Stadttheater». Even Schikaneder »s ovm Sing• spiele, 'Die lyranten' and 'Der luftballon', are almost entirely excluded from the programme of the Freihaustheater.^ Quite reasonably, if it is recalled that it was, in fact a Gelegenheitsst^ickJ the latter did not appear at all in Vienna, whilst, as far as is known, the former was per• formed only once at the beginning of SclELkaneder's resi• dence in the Freihaustheater.^

From the outset Schikaneder offered Kasperl, the extremely successful 9 popular comedian of the Leopoldstadt- theater, serious opposition. This v;as effected by the creation of his own popular figure, Anton, whose part he played himself.-^ The impact of Schikaneder»s Anton on the Viennese audience was such that, in all, seven 'Antonstucke' were produced between the years 1789 and 1793f first of these was the most successful and had its premiere on the 12th July, 1789.^ The rest of the series were not particularly impressive *° The 'Anton- stiicke' included; »Der dumme GSrtner aus dem Gebirge oder Die zween Anton'; 'Die verdeckten Sachen', first performed on the 26th September, 1789* '^'^'as macht der Anton im Winter?', first performed on the 6th January, 1790; 145(a)

8. DG. " Arie des Gartner Redlich Einst verliebte sich ein Jtlngling KaTim noch zwanzig Jahre alt In ein iSdchen, das vorbeyging Zart und reitzend von Gestalt. liebchenl rief er, ach verweile, Wimm mein Herz, ich schenk er dir, . Mach mich glilcklich, MSdchen eile! Dich beschied das Schicksal mir. Wohlj ich traue deinen Worten Redlich, sprach sie, ist dein Blick, Ja, dir folg' ich aller Qrten, \ Nimm dein Wort nicht mehr zuruckb Was geschah? Sie sind verbunden Durch des Priesters Seegenhand, Doch die lAebe war verschwunden^ Als man sich in Armut fand*.**" 9o BG. Ein Junker von gar a It em Haus, An Mitt ein arm, doch reich an Muth, Ritt unverzagt auf Thaten ausj Zu sammeln Ehr ;md Guti Und als in seinem Vaterland Dann uber eine kurze Zeit Gros' Hader, Zank und Krieg entstand, Ward dem sein Arm geweih't, Es kam zur Schlacht, Der Donner kracht, Er kam ins tiefste Sclilachtgewuhl, Er schlug darein, und was er traf, Ross Oder Mann, das fiel. Der Junker stand, und wich nicht einen Echcitt, Ihr ErttderS wagt es noch einmal, Ihr Brflderl kommt zurUck, Aus vielen IVunden floss sein Blut, Man weiss, was Neid und Missgunst kann, Sein Feldherr war ihm nie recht gut, Br unterdrttckt» den Mann, Der Junker sagte Sffentlich, Dass man ihm grobes Uorecht that; Er gieng nach Hof, beklagte sich. Die Elage fand nicht statt, Und damit war's noch nicht gescheh'n, Man trieb die Rache weiter fort, Der Junker musste fliehen Nach seines Feindes Oct, Mit seinen Kindern an der Hand Begiebt der arme Fliichtling sich Dann endlich in ein fremies Land Und dieser, sehtl bin ich." 145(a)

1. AX-m., p. 454,

2. ibid. p. 464. Rommel insists, wrongly, that all the manuscripts are lost. .> 3. ibid. p. 464. Rommel notes a French origin.

4. DG. l,i. " Chor. 0 MorgenT lieblich zum iSntzucken Du holde Sonne, welche Pracht » Mahlst du nit Gold, und Purpurblicken Auf unserer Garten bunte Tracht, 0 Morgen! x.... Spea?st den I'leiss bey Arbeit nicht Lasst uns froh bey TSnaen seyn Sorgenlos bey gutem I7ein Trocknen v;ird das ilngesicht."

cf., LHo l,io

5* DG. l,i. " Arie des Gartner Redlich Beschreib ihm meine Schmerzen"" , v i Das Vateraug* veil ZKhren " ' Dann v;ird er zu mir kehren Mein Anton wieder seyn. Doch geht's ihm nicht zu Herzen Wird er an Leidenschaften Meljr als ein Vater haft en So mag ihm Gott verzeih'n."

6o of., pp. 51-53. For f^urther comparisons between Hafner and Schikaneder. cfAWVK. pp. 465-^1-66.

7o DG... " Arie der Grafin Josepha Auch im Schlummer seh * ich dich Trauber Jilngling noch vor mir AntonS ganz umschwebst du mich Meine Seele spricht.mir dir, Hannt' dich. mein* auf ev;ig mein; Aber da erwach' Ich kaum, 0 so seh» ich leider ein; Ich besass dich nto? im Traum. v?ie verhasst ist mir mein Stand, Der dich mir au£ immer raubt, \ Der die hochgebohrne Hand leines Gleichen mir entwandt." 145

'Der Eruhling Oder Anton ist noch nicht tot', first per• formed on the 18th June, 1790; 'Anton bei Hofe Oder das Namensfeet', first performed on the 4th June, 1791; 'Der Renegat Oder Anton in der Tffckey', first performed on the 15th September, 1792; and 'Das Haus im I7alde Oder Antons Reise nach seinem Geburtsort', first performed on the 6th

January, 1795*^ Most of the above manuscripts are lost^ but the 'Theatersammlung' of the Osterreichische Wationalbibliothek in Vienna has in its possession the arias from the first three 'Antonstucke'•, which are of a certain significance in that they illuminate Schikaneder »s indebtedness to the various branches of the German theatre.^ Thus in the first act of 'Der dumme Gartner' dawn breaks, combining its effect with the music from the chorus of 'Bamern' and 'BSuerinnen'J" which immediately recalls the pastoral seclusion of the same act of Hiller's and Ueisse's 'Lottchen am Hofe*.^ At the same time Schikaneder provides the first scene v/ith a GrSfin Josepha, -who is slumbering in a summer- house, which is not a far call from the nobler proportions of Mozart's 'Die Hochzeit des Figaro'. Anton's father, Redlich, moralizes against the dangers of passions'^ and in doing so repeats a similar function to Hafnsp's HerrRedlich in 'Die b{irgerliche Dame', whose name he has possibly taken. In the spirit of the age of enlightenment, Josepha bemoans her high-born standing, from whence, despite her love, she cannot offer the lowly Anton her hand.'^ Only the dream can realise her wishes.^. Hov/ever, two songs by Redlich reveal that his son's origins are, in fact, not too humble after all, In content and theatrical purpose both shov; a probable indebtedness to Hafner, whilst the stories relate to 'lAsuart und Dariolette', particularly to the ballad, in the first instanceand to 'Thames' in the second,^'' Anton, as a popular comedian, is more 146(a)

1, DG. " Arie des GSrtner Sohns 0 HachtS viel schwarzer als die Hfille Tod und Verzweiflung wtlthet hier 9 Eein lichtstrahl dSmmert dflrch die Hfille Das aufgethOrmten Grams in mir. Ich bin das Opfer meiner Hebe. ' Mich foltert unnennbarer Schmerz, 0 ftlhltest du doch meine TriebeS Vergebens fffhlet sie mein Herz, Es ist kein Rath, ich bin verier en, Verloren ist schon mein Verstand, Zum Jammer war ich stets gebotirenj IVillkommner Tod I gieb .mir die Hand. Hinab zum Bach bebeod, Dass kein Gehirn ins I7asser spritzet; So hat dein Leid ein End. . Fort J Aiiton fort! wanke nimmer. Was niizt mein banges Zaudern, Was niizt das Klagen mir, Josepha S Vater J lebet wohl!"

2o cf p, po 42.

3« VS. 4o ibid, Arie des Gartner Antons "...Ich will mich zu Tode fressen..,," 5« ibid.

6, of,, DL, pp. 91'^5. ES. pd 32. 146

closely related to the naive peasant in the'Singspiele of the Wanderbuhne, than to the Hans I7urst of the old Viennese popular theatre. like Gurge, and even Barthel, Anton is subjected to the powers of love,*- where both Stranitzky and Erehauser would have kept themselves far removed fJ?om it, merely treating a third person's experience of it as a further opportunity for comedy. Only with Prehauser did Hans ?/urst begin to be associated with Colombine, the latter's female counterpart, and even that was largely a case of comic convenience rather than the expression of sincere affection for each other* Anton succumbs to his emotion, his love for Josepha .* ^ Through his suffering Anton is driven to suicide, a recurring leitmotiv of the old Viennese popular theatre? but the treatment differs, as Anton's despair is sincerely founded.* It;almost appears that a popular comedian is striving for heroic recognition.*- : , In' 'Die verdeckben Sacheh', however, Anton renounces those claims and resimes completely his popular role. He becomes more of a farcical figure and voices conceptions vMch place him between the Viennese Hans test and the later Papageno: "Wie oft locken t7eiber die Manner in d^Falle, Beliigen, betrilgen, das k^nnen sie alle " ^ Having attempted to break the bounds of class and abduct josepha, Anton declares, as he' fails in the attempt,^ that he will eat himself to death.'* Further proof that Anton is no longer a sentimentalist, but merely a popular fool, is afforded by the Ellozart aria 'Ein Weib ist' das herrllchste Ding auf der Welt»f which no doubt had its origins in the song' 'Ein Weibsbild ist ein hSrrisch Ding' from 'Die lyranten'f Revealing that he is, to some ex'- tent, still shackled by the rustic naivety of the 'Volks^ stiick' of the tITanderbiihne, Schikaneder has presented 147(a)

1^' AVJVK, p, 464. This authority notes that popular comedians cannot be forced. \ 2o cfp, 145(a). 8,

3o VS, . "Ein Weib ist das herrlichste Ding auf der l7elto*6 V/ers iSugnet,,, (Als der Kourier T;egen dem Si eg des Erinzen von Koburffi einritte). Man hort ja fast tSglich was Neu's in der '.7elt Besonders von unsern Soldaten im Peld . NSchst hab' ich, wie ich in die Stadt wollte geh'n --^ In schBn rothen • Janckerln viel Reuter geseh'n, Die machten treng, teng, teng, und schnalzten brav drein Da fragt' ich den einen, ,v/ozu soil diess seyn? Der sagte, dass Koburg der mSchtige Held Dem Turken geschlagen, dass die Goschen ihm schwellt,"

4i, AW, oN; Ts,

5o cf.j pi 9(a). 4.

6; cf .5 pp* 42(a). 13.s 45(a). 3.

7o AW,

So AW. " Schluss-Chor. Lasst uns nun m ttuhe leben Lagst uns in Ruhe leben Maim und Weib, Weib und Mann Lasst uns zur Tafel geh'n, Gnsldige Gdnner wollet ihr I Unser Gastmahl nicht versohmah'n 0 so bleibet bei uns hier So bleibet bei tins hier*"

9o VWV. po 52.

10. m, p, 141. 147

Vienna with a comic peasant without local roots, aiid it is perhaps in recognition of this failing^ that Anton in part I is provided with a nobler heritage, and that part 2 contains the beginnings of local colour in a topical reference to the Austrian army and General Ebburg.^ The commodity, however^ remains sparse; In part 3 'Was macht der Anton im Winter?', except for his earlier sobering experience of it, Anton strongly recalls the attitudes of the comedians of the Old Viennese Popular Theatre towards the married states Even more obviously Anton has distanced himself from the pseudo- heroic figure in part Is "Sie sind vorbey die guten Zeiten Als ich noch frey und ledig war • Da durf t' ich nur fiir mich arbeiten Jetzt sclire3rt mir bald die kleine Waar Uhd bald das Weib die Ohren voll Beym Sapperment, das ist zu toll'.!,. Actual marriage reflects the theatre of the Wanderbiihne, but the decrying of that state is in harmony with a tradi• tion first established by Stranitzkyf which was upheld by Hafner until 1764? Hafner found the presentation of marriage as a happy solution of the denouement entirely incompatible with the demands of vraisemblance and was obstinate in Iiis avoidance of itf Follov/ing Anton's, example Graf Dorn relapses into the popular idiom and speaks of 'M^'ulchen' instead of 'Eosse'^ and probably as in Hafnsp, with a view to its comic effect 7 The recurrent theme of the Singspiel of the Wanderbuhne is repeated here as part 3 is closed with a hapjpy union and chorus 'Mann und Welb'.^ The music of 'Die ZauberflSte'j which Schikaneder asked Mozart to coi^pose,^ is remarkable for its homogeneity in the presence ot^Mtferent stylesZ;v ^~"T The latter 148(a)

9o This is strongly inferred by M&ike in his 'Novelle' 'Mozart auf der Heise nach Prag'.

10* cfpp. 70-73.

11. cf., pp. 21, 128-129, 143(a)

If cfppo 64, 65* 2o WAM<, Vic pp. 240J 247ff9 259, 'Die Opera seria»o •Ihre Grmdlage das Recitativ*. Recitative had to be smg. In 'Singspiel' where all characters had been essentially actors, -recitative could not be ijsedo It was replaced by dialogue, cf,, GddS. »Die Oper'. p. 155. 3. ZB. 1., Hr. 7. Duett. Pamina and Papageuo, .po58« 4o ibid, 1.9 Nr. 4, »0 zittre nicht mein lieber Sohn'. pp. 53-37. 11., Nr. 14, "Der H^lle Rache kocht in meinem Herzen." pp. 106-109, 5* M. VI* Das Theater auf der Wieden, 6. OD, p* 2Qff. "...Man setzte tind sang damals Triller -und rapide Liluf ©r in chromatischer und diatonischer Tonreihe, nur urn Kehlfertigkeit zu zeigen, urn Sechzehntheilnoten zu singen, um Kunststficke zu produciren, > nicht m die Empfindung zu potenziiren, Wer die staunenswerthesten Kunst- stUcke machen..konnte, der war der gr6'sste sSiager, der vnirde am meisten beklatscht, Interessant war es mir von der IStatsrSthin Nissen (VJittv;e Mozarts) 1822, wo sie bei mir wohnte, selbst zu vernehmen, wie sich Uozaoct iiber diese Ab= und Unart im Gesange lustig gemacht habe, und aus spasshaftern Uebermuth gegen Martin iind seine Vergfltterer die Arie der Gonstanze und KSnigin der Nacht (beide fih Wien und "damit seine SchwSgerin Hofer geb, i:/eber eben so Flbore machen sbll.") auch so einrichtete; frellich mit etwas mehr Wahrheit, als der seichte Martin, Sie widerholte mir Sfter, dass Mozart immer im Sinne gehabt habe, spater diese Musikstficke zu Sndern,"- BflWS, 3. Schreiben. 5th January, p. 39• As early as 1768 Sonnenfels condemned Italian bravura as being untheatrical, and a v/ay of turning the actcxps and the action cold.

7o ZT. UTA. 1794 o Po IBl, 8o OD. Po 2Qff, 148

reminiscent in its simplicity of the moderate musical de• mands of the Singspiel, the Singspiel form of dialogue and song g the larilliance of Italian bravura g and the use of recitative to portray some action of the plot 9 the latter being essentially a facet of Italian Grand Opera Amidst all this the music of 'Die Zauberflote' has an overall unity. Apart from the occasional florid passage in the musical part of Pamina' the bravura is restricted to the two arias by the Konigin Qer Nachto'^ It has been main• tained that Mozart wrote intentionally in this vein, recalling as he did so the particular qualities of Lladame Hofer's voice Another source affords evidence that Mozart was thereby satirizing the music of bravura 9 which in Vienna characterized the extremely popularj but not very aesthetic 9 M>rks of VtOCTiter^artinTy Soler-;6 The latter* s 'Cosa Eara" was several times performed successfully in both the Leopoldstadt- and Ereihaustheater Soler was a Spaniard, vAio had studied, music in Italy and in that country discovered the art of arranging music so that it tickled the palate! |~"~ ~7r~]thl3 he~liig~8ucces"a» ; fully in Vienna and thus stole what might otherwise have been some of Mozart's popularity? Perhaps Mozart too was not fasr from interpreting the Konigin der Nacht as the embodiment of all that was indifferent to the cause of German opera, and all that encouraged, on the other band, the flatulent nobles and representatives of Italian and French opera at court i° it would appear, however, that it v/as Mozart's Italian schooling, which stimulated musical unity in "Die Zauberflote'e The music of the Singspiel of the Wanderbuhne was naively conceived as consisting of songs, which were not normally related in style to each otherIn its 149(a),

lo KG, Vb„ 2, ibido

3o Komorzynskl mentions the composers Mozart, Schackp Gerl and others, ES.p,168, cf.pPol67, 4, of., pp,82-100, 129. 5, ZB, 1,, Nr,2, Arle, pp,26-28, 6, of., pp,21, 93-94, 7o cf,, pp,93,94, 8, cf,, pp,148,149, ZB: Nr,2, Arle, Papageno. pp. 26-28, Nr,?, Duett, Pamina and Papageno. 'Bel r,aannern, welche Liebe ftthlen'. pp.. 56=58, Nr,20. Arie, Papageno. 'Eln Mfldchen oder Weibchen wtinscht Papageno alch,' pp, 125=133, 9, cf., pp,89,90. 10. cf., pp,64,65, 11, KWMo p,21. manifestations the song iisually expressed 'eine blosse Empf indung»,^ Such lack of musical continuity was not in -4. itself, hoivever, detrimental to the original conception of 'Singspiel*, as the music was not seen as an organic grov/bh, but as an accessory with which to attract an audience.^ Thus Schikaneder's »Der Stein der Heisen', for v;hich three different composers, Mozart, Schack and Seyfried wrote the music, reflects something of his inter• pretation of Singspiel', as he first witnessed it on the Wanderbuhne The Rollenlied of the popular theatre in Vienna suffered the same sense of musical detachment^ and its form reappears in 'Die Zauberflote' in Papageno's BoximJ.t&RiloKel£Mm&P-Ji±a i-Ch_;)BSf ..althoueh,,ln'fSi8 Instance, ,5n^e oceasfons WeifiPapageno^ater reappears on stages ' iioaanc nas euppriedTlttUBlc which recalls the jPoP^l^gg^ggj^Q^y^

'Stimmungslied'^'^'^of the popular theatre began to merge with the tone set by the libretto even before Mozart, and instances of this also occurred in Schikaneder's 'Die liyranten' of 1776?^ This sign of the increasing importance of music in the theatre heralded its further development by Mozart in 1791.

The occasional appearance of popular style in 'Die Zauberf l8te'^ reveals its musical indebtedness to the Singspiel, as originally conceived by Hiller,**^'^ It is the same style which Leopold Mozart recommended to his son whilst the latter was composing for 'Idomeneo' in Muiach. - Although it is doubtful what this opera seria contained for the musically 'long-eared',*^ Schikaneder was insistent upon its inclusion in his 'fairy-opera'.'^ In this light 150(a)

"libGz? .Vo If corp. ')e3?\7cila scliicke ich dir deia Fca Fc To zurîcldig das ini2? zic^lich recht Icto ;js v/ird'c schoa thm, .aoonds Gohoa -..ir UJJG boi den bermcstcn rCrîppen," (cf.g Konor^nski, opoCit,, > p. 192)0 A'TVS, fn. 49. p, 513, A iGu-cc^r froa A 0bastion ".âycr, second husband of r-'ozcrfs sictcr-in^laiVg liadaoe lIofGr, to bo found in Gactelli's F-onoiPGn, 1, p.256.5 reports the icllo'./inc episode, i)urin;~: rehoorsals j Gcidkancder Lhouted dom to the orchestras "Du rJozartS iOas ist nichtii, da muss die nucilc Lichr Ctamea auodruckong boide m&jsen slch orst stunjEi onblickcn, dann nuss Fopaseno zu stottcm anfciv^cas Ta =• po pa pa= pa? Papc^'eao nusc dies uioder-holcn, bic ondlich beide den ganzen JJamen auscprechcn," 3oncr.cl renarkc of the sares "Dofi Ccocliiclitchen ict intereGsant, v/oil oc aus dca IS?oiGC dez" LcuikaLioder isi allGeneinen nicht v/oIilGCoinnton Vamilic eber Etomt " 10, IôVlo "Das Tiieater auf der iedea', "I'orner als ia zi7citon Acte die 3?l?iestGr sich TTGPGanBiclii g seschah dies bei dor C-cnoralprobo ohne ruGikbcc;lcitunG g LciiikancUcr abor verlansteg dass cin pathotiGchcr tiarsch dazu conponirt v/erdGo Da GOII Cozart zu don LiUGikorn cecagt habon? "Gebt hor iJure EaszettGlnS" und in die ntijanon GC£,'leich dioscn pra'chtigGn Llarcch hinoincGcchri cben haben," 150(a)

'TJas Duett," erklSrte Schikaneder, "ist von mir." '(Nicht minder sind auch die meisten Papagenolieder von ihm)..." ^ M. VI. 'Das Theater auf der Uieden'. TGAS. pp. 5-7. "Mozart; ich oekenne, meine Musik hat mir g'rathen, lir wussten, alle zwey, was wir thaten: Du hast mir manche Melodey vorharmonirt - Freylich hab' ich's hernach erst aufgeftlhrt; Aber du hast mich zu einer Zeit' erv;Shlt, Wo mich so mancher Charlatan hat geschnellt, Du liast verstanden, was ich kann, und vermag. Und warst ein Freund vom Schten Schlag'o Du gabst mir Gelegenheit mich zu zeigen Und ich machte deinen Plan mir eigen. Lache dazu, wenn man jetzt schimpft, oder flucht, Ich war ja zu ha ben, warum hab'n's mich nicht g'sucht? Du hast mich gesucht, imd ich hab' dich gefunden, IVir lieferten v;as Grosses, mits^mmen verbunden; Da standen sie urn mit offenen Maulern und Nasen, Und wollten am End' ihr Gift auf dich blasen. Du warst HISR der Erste, keiner frifcer, Du warst der Vaterj ich der Erzieherj HStte der Vater kein Kind gemacht, HStt's auch mit der ETziehung gute Nacht."

6. HGS. V5. pp. 110-111 cf., p. 49(a), 8, BWAM. V2. 240. p. 201. M-IM. 28th December, 1782. "...urn Beyfall zu erhalten muss man sachen schreiben, die so veratandlich sind, dass es ein fiacre nachsingen kSnnte..."

7o AWK. p. 512. "Auch Seyfried hfilt es in seinem Briefe fflr wichtig, aufmerksam zu machen, dass Mozart und Schikaneder sorgfSltig darauf bedacht waren, Text und Musik aufeinander abzustimmen." 8,6 KSWI. p. 21. "Wie er mit dem Text fertig (und das war er fruchtbar, leicht arbeitend, bald), redet er darflber mit Freund Mozart, fragt ihn: "Willst du die Musik dazu machen?" 9. AUVE. p. 515. According to this authority, the only remaining evidence of Schikaneder's and Mozart's collabora• tion, is the following note; 150(a)

M.' VI. IDas Theater auf der IVieden^. "LScherlich ist,. was Schikaneder einem Freunde,; der ihm nach der ersten Aufftlhrung der Zauberr- flSte" Lobsprllche fiber sein Uerk machte, geanti7ortet haben soil,. Er soli gesaat haben: Ja, die pper hat gefallen,, aber sie wurde noch mehr gefallen haben, wenn mir Mozart nicht soviel daran verdorben hStte." ES. p. 258. ZB, ?Zur Geschichte der Pper», pp* V^Vl, ""Der Deutsche kann die Erscheinung dieses Werkes gar nicht erschiJpfend genug v;{lrdigen," sagt Richard Wagner, "Bis dahin hatte die deutsche Oper so gut vde gar nicht existiert; mit diesem Werk,war sie erschaf^en.,,V/elcher gottliche Zauber weht vom popularsten liede bis zum erhabensten Hymnus in diesem WerkeS Welche Vielseitigkeit, welche MannigfaltigkeitS Die Quintessenz aller edelsten Blilten der Kunst scheint hier zu einer einzigen Blume vereinigt und verschmolzen zu sein, Welche ungezmungene und zugleich edle PopularitSt in (jeder Melodie, von der einfachsten zur gev/altigstenj..."

AMP. p. 119. ES. pp, 223-224. The three songs in question are those given above, 149(a), 10.,, namely those in ,w4iich Papageno in particular figures. More than one source gives evidence of Schikaneder*s demands*. EUMo p, 21, "...Mit Mane hen war er unzufrieden, ein scharfer Gensor, aber ein practischer Kopf,„der sein Publicum kannte., Hundert Mahl scharfte dieser practisehe Kbpf Mozart dem Genie ein: Nicht so gelehrt, Ereundj. das ist zu^hoch ftir die Leute; das musst Du einfacher.j naturlicher machen, und das Genie machte es, wie der Herr Director und der Herr Sruder es verlangte. Das Duett: Bey Mfinnern, welche liebe fiihlen etc., musste ihm Mozart nicht weniger als vier Mahl abandern, ganz wenden und sttirzen, und dennoch war es dem rigoriisen Tactmenschen noch nicht recht. Das ist Alles zu gelehrt, ehtschied er; so will ich es haben, un^ sang ihm das Duett vor wie er es wollte und brauchte, und - id.e Mozart es auch wirklich adoptirte und componirte, so also, wie vd.r es haben. 150

Schikaneder 's later complaint that Mozart 's music almost ruined 'Die Zauberflote» by its learnedness, can be better understood, as not necessarily a lack of appreciation for Mozart ,V Schikaneder, after all, was concerned \rdth the reaction of a popular audience.

The easy attraction of melody consequently forms an integral part of the music of 'Die Zauberflote'. TJagner later praised the simple melodic content of the opera,^ whilst Blikml admired the 'leicht ins Ohr fallende Mozartsche Weisen'f In fact, the simple melodies to three of the songs^ were a result of Schikaneder's efforts rather than Mozart'sf Schikaneder, as the librettist, knew exactly the demands he wished to make on the Viennese audience. They derived great enjoyment from the music of an attractive melody and this is what Schikaneder intended them to have. To do this he had to enlighten Mozart as to his requirements and that it was done without any ill-feeling, reflects not only a deep friendship on both sides but also an appreciation of, and sympathy for, each other's sa?t7 Qa the other hand, Mozart's influence on the moral issues of the plot should not be exaggerated, as Schikaneder only offered him the text after its completion.^ Schikaneder, accordiagly, could reprove Mozart for his first draft of the meeting between Papageno and Papagena: 'Du Mozart! Das ist nichts!' Schikaneder re• quired the music to express more astonishment and, subse-. quently, Mozart's music expressed astonishmentf The . existence of the Eriestermarsch at the beginning of the second act is dise to Schikaneder's insistence. The priests' entry had, in the first instance, no musical accompaniment,^ The 'Theatermann' immediately realised the theatrical awkwardness of such an entry and demanded music, which Mozart wrote on the spotP In other instances Schikaneder was more specific in his requirements and 151(a)

1. cfp. 150(a).. 5. 2, ES, p, 224. . , »Ea.n Vogelf anger bin ich 3a» has been reLalied by, .. the above authority to, Christian Eriedrich Schubert's 'lied eines Vogelsteilers•, (1782), MR. pp. 141-163. The Melodic Sources and Affinities of 'Die Zauberflote». "Ein Mfidchen oder Weibchen' has .close s,i;nilarities with a Chorale in 2/2 time by Scandello (1517- 1580), and Haydn's 'II Mondo della luna".

3o cf., p, 134. ^

4. WAM, p. 772. "Nach dem zweiten Akt soil Mozart verstort und blass auf die BHhne gekommen, und von Schikaneder getrb'stet warden sein. Doch in der Poise fing das Fublikum Feuer und rief am Schluss den Eomponisten, der aber nur miihsam: zaam Erscheinen vor dem Vorhang zu bewegen war..."

5o mm, Po .21. 60 BM. V2. no, 350s p. 351. M - (an die Gattin in Baden bei Wien), 7th and 8th October, 1791* "Eben korame irh von der Operj - Sie war eben so veil wie allzeit, - Das Duetto Mann und Weib etc 5 \md das GliJckchen Spiel im ersten Ackt wurde wie gev;8hnlich wiederhollet - auch im 2. Ackt das Ehaben Terzett - v;as mich aber am meisten freuet, ist der stille beifall! man sieht recht wie sehr und immer mehr diese Oper steigt. Nun meinen lebenslauf; - gleich nach Deiner Abseeglung spielte ich mit Hr: von Mozart (der die C^er beim Schickaneder geschrieben hat," 7o ES. pp, 170-181^ 'Die Zauberfl6'te, Entstehung,* -/ 80 MD, p. 158, 9, EiE. pp. 141-164. The Melodic Sources and Affinities of 'Die Zauberfl6'te».

lOo ibid, cf,, pp. 150(a)6 5.9 49(a). 8, 151

actually whistled or sang the melody he had in mind.* Such was the case with the tunes for three items; *Peg Vogelf anger bin ich ja'-, 'Ein Tiladchen oder Weibchen' ,^ both sung by the popular figure Papageno, and 'Bei Mannern,^ welche Idebe fuhlen',, the duet betv/een Pamina and Papageno By imposing popular melody on the popular comedian Schikaneder played his own part in the musical characterisa• tion of 'Die Zauberflote'. As a necessary limitation of Schikaneder's musical gifts, however, it must be realised that the tunes, which he ivanted to hear in the opera, were not necessarily his ovm invention,^ Nevertheless, the reception of the opera in Vienna, the same city in which in the next decade Beethoven's 'Fidelio'-was regarded as a failure^ fully justified Schikaneder's beliefs that Mozart must not forget to vjrlte for his popular as well as his educated audience. The first act did not win immediate approval on the first nights Mozart was upset as a result of this and in the interval expressed his anxiety for the 'Zauberoper' to Schikaneder.''' The latter calmed Mozart with; 'Ich kenne die Wiener besser'^ and the subsequent act justified the impresario's confidence. One of the popular melodies, at least, became a regular encore,® which marked the satisfaction of contemporary Vienna, but Mozart's sense of gratification from the 'silent approval' reflects the deeper musical value of his gift to posterity.®

Only too readily has Schikaneder been reproved for incorporating the works of others in his om.^ In con• demning Schikaneder it has been convenient to ignore the fact that the period as a whole was one of widespread adaptation? Mozart himself was a child of the age, as King's work has shown*? His themes and figures, as, of course, Schikaneder's popular melodies, were culled, sub• consciously or otherwise, from a variety of sources.^ King, for instance, provides three possible sources for 152(a)

1, MR. T). 143. 2o cfpp, 150(a),5.9 49(a). 8, ^ 3o ZB. 11. Nr. 9. p. 90, Marsch der Eriester, cf., p* 150o 4, cf., pp. 102-rll9.

5. cf., p. 150. ZB, lljsxix, Eapageno. p, 166. 60 ZB, 1. Introdulcbion, Tamino und die drei

Damen: , pp, 17-25. .^^1 76 ibid. ll,xxvii. pp, 137-144. 8, ibid. ll,X2cvii, pp. 142-144,. 152

the allegro theme of the ouverture to 'Die Zauberflote»: Mozart's om 'Idomeneo', Clementi*s piano sonata in B flat, and a quartet ft am Piccini's »I1 Barone di Torrefocte'. (1765).^ It is, of course, r ~mQMiingle83 -to~orltlol8e the work of Mozart on this account, as it is to criticise Schikaneder when his libretti run parallel to the libretti of others. Music does not comprise melody alone and neither do single items, or names, or phrases constitute a successful libretto. In a similar v;ay:Schikaneder's 'musical assis• 1 tance'^ can never belittle Mozart's achievement. This v/as the age of musical and textual cliche« ^ Music is manipulated dexterously for a variety of ends in 'Die Zauberflote'. Developing beyond the foimer musical confines of Singspiel, the niisic of the 'Priestermarsch' solemnizes the entry of the priests,' A theatrical atmosphere is thus created by music, which is what Schikaneder achieved in his Schauspiele by scenic effect and the realistic use of stage properties."* 'Die Zauberf lot e» depicts more than the predominant feelings of misery and despair in 'Idomeneo' in giving the lighter expressions of human experience, such as astonishment,^ musical repres• entation. Theatrical situations are created with a view to musical expression. The human weakness |of the three ladies-in-waiting for the handsome Tamino ace humorously developed in thet!v~~ Itrio.^ Pamina is led to believe that Tamino no longer loves her and the over• wrought heroine gives Mozart opportunity for -the develop-^ ment of a tragic theme, whereupon its sympathetic obser• vance by the three 'Khaben' incites pity.-^ Relief, again expressed musically, is all the more effective after the suffering endured by Tamino and Pamina ,^ The libretto of 'Die Zauberflote' is thus the product of an experienced 'Theatermann'j who is writing for the extensive musician-^ ship of a talented master. 155(a)

1.' • ZBo Ouvertttre. p. 7* 2... ibid. 11.', Nr.9ao- Der dreimalige Akkord. p.90* 3. - ES. pp. 200, 203-210, 222-223. 4o, mm. . p. 153. TT. l',i, "iDas Theater stellt ein Chaos vor. Die drey Accorde aus Mozarts Zauberflote in der ESitfernung, worunter ein-Donner rollt,..)" 5. • GBS. p. 93. • mm, p, 153. It recurred later in 1796 in Hensler's 'Der unruhige Wanderer', ' DW. I,iii. "(Zum drittenmal Posaunen=Akkord verbunden mit einem schrecklichen Donnerschlag. Das vorige Felsenstuck theilt sich. und Chara kommt heraus, als altes, zitterndes Mutterchen, an einem Stab daherwankend, eben so gekleidet wie Kasperl, er stxirzt vor Angst zu Boden.)" cf., ZB.l,v. p.32, 6. ES. p. 252. Text by Sb^iikaneder, music by Peter [von |l?7inter. First perf oimance 12th ,June, 1798. Jroouced with success 34 times in that year. 7 b ME. Pi 143. 8. ES. p. 223. ZB. II,xxviii. pp. 155-154. 9. cfpp. 5(a),7., 119,189. 10. cf,, pp. 89,90. 11. cfpp. 82-100. 12. cfij pp. 18, 19ff* WdS'c p, 54ff. 13. MD. p. 131.fn. 'Die Zauberfl^fte' Solved 1. 14i, ES. pp. I7O-I8I. AWVK, pp. 979-991* "Zur Frage des "Zauberfliften" Textes! Schikaneder oder Giesecke", 15. CD, p,22ff. 'a. Von deutschen Componisten und Dichtern'. 153

?Der dreimalige Akkord*,^ which opens Mozart's buver- ture.9 aiicl is also lised in Act II to signify the priests' acceptance of Tamino as a worthy person^ has been said to represent the triple knock given by freemasons before they can gain admittance to the Lodged This would afford music the attribute of symbolic appeal, of which Schikaneder took advantage later in his 'Thespis Traum'^ and 'Das Labyrinth',^ the latter being part two of 'Die Zauberf lote' J This particular chord, at least, something very similar, had hovjever been used before Mozart ia Holzbauer's 'Gunther von Schwarzburg», which Mozart saw in Mannheim in 1777,^ and Mozart had included it in the first entr'acte of his music to 'Thames'7 • The descriptive form of the musical acccsapaniment to the ordeals of fire and water is a master l^faaaptatTon'oflnuslc't &GmBZtA^f~ihQatfef^liose beginnings Schikaneder himself might have suspected judging from his earlier f use"^ of music for theatrical effect,® Descriptive music was more eoEples than the original piano-accompaniment of the Singspiel of the Wander- biihne,^ ©specially as the latter neêr^ as far as is known, reflected frightening or tragic situations" But in the tradition of the Viennese popular theatre the asaaelation between Haydn aoGl Kurz^^ which produced 'Der Neue Eûmme Teufel', implied that music was already beginning to be regarded as an organic,î^t~^g" theatrical ?^^ In proylding

situations which the Italian libretti did not provide, , Schikaneder had a further share in the foundation of German opera* Despite Brophy's academically naive assertions to the contraryit has recent Oy been accepted by at least two authorities,^^ that Schikaneder was the sale librettist of 'Die ZauberflSte'* Earl Ludwlg Giesecke, whose share in its creation; has been mooted by Cornet,^ has been 154(a)

1. AWK, pp. 985-990. 2, . ON, Ts. y 3« 'nach Uielands Oberou' This edition v/as printed as late as 1806, but judging from its title-page, Giesecke intended the work to be performed not at Schikaneder's • theatre but at the Lebpoldstadttheater,

4. OF. Ts. Seyler's 'Oberon' was first performed in July, 1788, AlWJi. p. 985. Giesecke's 'Oberon' was not performed until November 7th9 1789. ES. p. ISO.

56 ES. p. 180, 6. AWKo pp. 981-983. 'Ist Cornets Bericht glaubwurdig?' ES. p. 178. 7. ES. pp. 184-187. 8. Giesecke's acknowledgement of IVieland's 'Oberon' on the title-page of his own version, proves neither that he knew Wieland, because his work was, after all a plagiarism of Seyler's, nor that he suggested Wieland to Schikaneder, Certainly it would appear from Komorzynski's comparisons, that Echikaneder knev/ Wieland's 'Dschinnistah't Komorzynski thus believes the latter work to be the inspiration for SchLkaneder's' 'Der Stein der Heisen oder; die Zauberinsel' (ES. p. 176), whils-fc Bauer (ZB. 2, p. 181) seconds Komcjrzynski»s view (ES. p.302ff.) that the sequel to 'Die Zauberflote' was from the same source.

9. AWK. p, 990 Brgebnis. 3.c. Seyfried v/as also present at the meeting vjith Gicsecke. CD. p,22ff. 10. OD, p,22ff, 'a. Von deutschen Componisten rind Dichtern.'

« a collection of'^'iTiry-taieB edited by ^lelana.] 154 revealed as a scoundrel J v/ho gave to the theatre' little more >than pirated editions and adaptations,^ Giesecke's , 'Oberon, KiSnig der Elf en',^ v/hich acknowledges a source in Wieland? fails to mention the earlier 'Oberon' by Sophie Seyler,*" from ^iiich Giesecke copied word for tiord twelve of the twenty-six arias,^ Giesecke's assertion that he was the author of .'Die Zauberflote', and that Schikaneddr was responsible only for the creation of Papageno and Papagena, tends noi7 to be discdssed on the. grounds that there is no other evidence to support it,^ and that it V7as reported by an unreliable source? Further• more, Cornet did not commit Giesecke'e assertion to writing until as late as 1849, thirty-one years after it had been uttered, and fifty-eight years after the first performance of 'Die Zauberflote»,^

The assumption that Giesecke suggested Uieland to Schikaneder as a possible source for a Zauberoper^ is far more credible f and at the same time gives further proof of Schikaneder's authorship. If this assumption is accepted, and Seyfried's evidence, in fact, confirms it,^ then the tradition of misconception concerning the author• ship of 'Die Zauberfl8te' is revealed as being founded on Cornet's misinterpretation of Giesecke's original asser• tions. Thus, Giesecke's remark that he was 'der eigent- liche Verfasser'?^ would indicate that he was the true author, because he suggested to SchLkaneder that he should use Wieland, His complementary assertion that Schikaneder was responsible for the figures of Papageno and Papagena alonewould affirm thisj as these are the only two main parts added to the traditional story. Hence, Wieland, via ' Giesecke, was responsible for 'Die Zauberflote', and ScM.kaneder for the invention of two popular characters. This interpretation of the circumstances, which Comet reported only after thirty-one years had elapsed,^ and of 155(a)

1., ESo Po 335. In the event of VJieland's dying before Schikaneders the money vias to f\arther Schiller's career. 2o GddL, po 163.

3o Ow« »Aa den Lescr'o

4o ZB* ll,S2£Xo pp. 172ffo "Sarastro Die fcitrahien der Sonne vertreihen die Nachbs sernichten der Heuchler erschlichene Elachto" ihid, p. 177.

5o cfo, pp. 39-43. 6o cfo, pp. 39-43. 7. cfo, pp. 82-85.

8o cf.j Po 82.

9o IDo 8lT. tp, "De^ Inhalt dieses Stacks ist aus einer Erzahlung des alten heruhmten Chaucers senommenj, die ziam a?itel hats The Tale of the L7ife of Bathy und unter Drydens Faheln in die heutige englische Sprache ubersetzt zu finden ist. Aus eben dieser ErzShlung hat der Herr von Voltaire sein ce qv± plait aux Dames entlehnt." 155

which the belated publication mist support the inaccuracy of Cornet's assumptions, still allows room for the fact' tlaat Schikaneder wrote the. libretto to ?Die Zauberflote» and was its sole author. It neither proves or disproves that Schikaneder used Wieland-as his source, nevertheless he acknowledged some indebtedness to 'Dschi.hnistan', when he left Wieland 500 Gulden in his last will and testament,*

Wieland «s original »Oberon» which appeared in 1780? acknowledged earlier, sources, the old fiitterbuch by Graf von Tressan^ entitled •Huon de Bordeaux'^ \*Lich was widely known,^ Chaucer's Merchant's Tale^ and Shakespeare's Mdsummer Night's Dream,^ Wieland admits that his 'Oberon' is formed from three main plots; the first consists of Huon's adventure,^ which he has promised the emperor he will undertake? the isecond, consists of the love-relation• ship between Huon and Hezia,* and the third of the recon• ciliation between Oberon and Titania,^ The ultimate agreement between the two magical powers does not occur in 'Die Zauberflote't although the other two parallels exist o On the other hand Hafner's 'Megara' in the 1760»s,^ apart from Hafner's characteristic rallentando in the love- affair,^ follows exactly the above outline of Wieland »s •Oberon^o 'lisuart und'Dariolette',''^ which was performed by the popular theatre in Vienna in 1767 »^ thirteen years before Wieland »s' publication and a work with which Schikaneder was intimately acquainted, has, however, closer ties with 'Die ZauberflSte' as it contains the same tri• partite arrangement of the hero's adventures, his love for the heroinej and the final banishment of the evil power. Chaucer is mentioned in the acknowledgements of both Schiebeler^ and WielandV It would thus appear that Wieland's work was, to a degree, a product of the same tradition, which produced 'Die ZauberflSte'. \ 156(a)

10, 17TA, 1805. . p o 66f f. »Keuerbautes'. Ho M.Vl. 'Das Theater, auf der TJieden', ^ 156(a)

1. ' of., p* 125i .

2. A\TVE. pp. 5A-5-550.

3i" ES, P-. 263b 4„ Pei'inet v/as vvith Schikaneder in Erimn in 1807. ES. p. 343.

5. ibid. p. 166. AfJVK. pp. 54-1--572.

6-. C)N'. Ts.

7'o V/TA. 1803. p. 66ff. 'Neuerbautes.'. Perinet does not mention 'Die Zauberfl6te' by• name, but the inferences are obvious. It was probably the same rumour to ivhich Oastelli refers in more detail. M.Vl. 'Das Theater auf der Uieden'". "Bs ging 2XL jener Zeit im Publicum das Geriichts Bin Geistlicher,, ein Freund Schikaneders, verfasse ihm die Stuckej die er dann unter seinem ITamen erscheinen lasse. Hier^fber weiss ich Folgendes als Gewissheit zu sagen: Bs lebte damals auf der Chuij zu St. Stephan ein Geist• licher mit Uamen Wust9 welcher auch in dem Hause meiner Grossmutter aus und ein gingj \ind da "Herr Vetter" genannt vTurde. Der Mann befasste sich mit dramatischen Arbeiten, vorzilglich mit Zauberspielenj VTOZU er gewohnlich auch die Modelle zu den Maschinen verfertigte. Ich weiss, dass VJiist mit Sciaikaneder bekannt v/ar und auch oft zu ihm kam; aber so viel^ich Vj'ttst kannte, so v;ar er wohl ein Mann, der liber Scenerie Rath ertheilen und dabei Hilfe leisten konnte; aber Phantasie und Brfindungsgabe habe ich nie bei " ihm bemerkt." These rumoiirs appear to date from about 1801, at the time of Braun's enmity with Schikaneder. cf., p. 129ff.

8c ES. pp. 267-268. 9o Winter was a member of the company of the Ereihaustheater in 17919 the year in which 'Die ZauberflSte* v/as first produced. ES. p. 242. The WTA of 1794 lists him as "Winter: gesetzte Rollen", whilst the WTA of 1796 does not mention \ him at all. Apart from Perinet's specific reference to him, the WTA of 1803 describes him as 'Inspicient' of the theatre, (Theater an der Wien), 155

Ulvro of SchikonGdc-r's contosporcries» Jor.ohizi Porinot \iid an rotor, Tint or 5 afford further evidence of r'chikancder's sole responsibility for the lilirstto of Oie Zouberflote' FeriaoG, creator of a larrê nuaber of hSioGspiele in the Leopoldctsdtlîoater,^ so;::o of uIiGa adaptations of Ecfner's •plcrjsf was active in (i:cIi.i>cncdor °s conpany from 1793^ to ISOpt Altiioiish he coiilO ctill bo accounted a rival of f'chikaneder'c in 1791 f rorinst dose not doubt the intiiiate friendship uliicli o::istcd bGJTJGca Kozsrt and Echikancder In his 'Theatralicche Gosprceiio"? however, Perinet admirably portrays their indiviclual differences in tasteo As editor of the "ienor theater Almanach of 1805, Perinct does not fail to ncatioa that already, fifteen years before Giesecke hcid returned to 'Vienna and forty-foiar years before his assertions had boon made known, rumoiH? maintained that Schikanoder was not the librettist of 'Die Zauberf lote' Such runour had doubt• less been encouraged by Iêihorr von Iâun^s ozaisaion of Schikaneder "s nane, when he gave an unforfeunote porformanco of 'Die Zauberfloto' in the Burgtheater Porinot cpriiiss to Schikanedor's defences ".,«Es ist err/iesen, dass Plan laad Dialogisirung sein eigon sind, und HE*, winter,* der zugleich Inspiaient dieses Theaters ist„ wird os atcstireas denn nur or und vielleicht er nur allein, kann Schikaneders absichtlichc Hieroglyphen lesen, die er imier am erst en zu copiren bekomato o

The nature of the evidence is, of course, not conclusivo, but it is an indicator of the truth. Apart from Cornet's report, no evidence supports Giesecke's clain. In terms of character Gieseclce has been prv)ved a rogue, wliilst Schikaneder »s greatest failing was tliat ho appears to have been 'ein ausserordentlicher Lebemann' There is 157(a)

1. ES. pp. 258-S60o AV/VKs p.981o

2. It has been supposed that the Queen of Night and Sarastro undergo a sudden and unmotivated change of character from good to evil and vice- versa. WAM^o Volo4o po602ff„ cf.pBlso 'Die Entstehung der Zauberflflte' in 'Monatschrift fllr Theater und Musik' p.444ffo (v/allishausser'sche Buchhandlung, nien 1857). of.9 also MD,p.l44ffo AV.VKppp.980-981, 'Die zeitgeschichtlichen Wurzeln der Lehre vora 'Bruche' in der Konzeption der 'Zauberflfite',' cf,pp.l58ff, Castelli criticises Schikaneder's incorrect use of grammar. cf,pp,157(a)5o

3. BWAMo V2o no,197.pol27. M-LMo 13th 0ctoberpl781o cf.,p.66(a)3.

4. cf,,p,64(a)5p6, 127(a)3p4, Da Ponte appears to have been an exception.

5. M.Vl. 'Das Ereihaustheater auf der "/ieden'.

6. ES.pp.251-261,

7. • ibid.- p.239.

8. cf.ppp.82-85.

9. Z6. llpxxvliio p.153. 157

nothing to show that Schikaneder indulged in the piracy of which GiGsecliG has been found liUilty, The libretto of 'Die Zauberfiote' is the product of a self-educated maa^ and has been criticised for its in• consistencies.^ Certainly it contains impurities of rhyme p although Eiozart stated his prcfcronco for a librettist who could write in vorse rather than in rhyme f In the light of Llozart's impatience with ."sbzae of hio of'es? librettists 5* Schikaneder compares favourably. Castelli is too fastidious and narrov; in his criticicm of points arising in the libretti of 'Alexander' and 'Die Zaubcr- flote'o^ In the former Schikaneder will5 supposedly, make his audience yavm with such vowel series as 'Du o Alexander'" and, according to his gramiaatical expression, l-chikanoder has wrongly inferred that 1-amina is a wild beasts "Holde Floto, dupch dein Spie^en Selbst wilde Thiere Froudo fuhlon, Wur Pamina bleibt davon." » This, of course, is the work of 0 critic, who, even at the expense of reason and theatrical perspective, is out; to criticise. ^Ihcatrically, neither of Castelli's cements is valid. Ueither Vulpius's* revised version nor Goothe's sequel^ could successfully compete v/ith the libretto of 'Die Zauberflote'o The former made it far worse, as Schikancder has shown.® Developing beyond 'lisuart uad Darioletto', in ivhich magic played a prominent part in the solution of the human problemf 'Die Zauberf lote' indicates very clearly that magic is an accessory and not an integral part of the ploto Tamino's acquired matTjrity is responsible for the eventual reconciliation with Pamina and their endurance of the trials although the flute is played as they journey through these latter,^ 'Die Zauberflote' almost satirizes the popular tradition of 'Zauberoper', a tendency to which 158(a)

8. ibid, l,xVo p. 60. The boys themselves symbolise wisdom. Wise is a common epithet in their description, "Tamino; ^ Die lieisheitslehre dieser Khaben Sei ev/ig mir ins Hera gegraben," 158(a)

1, cf*, pp. -il-Og^l. 2, ZD. lljxxv. p. 153- 3, ibid. ll,viii. pp. 105-106. "Kb'niain; Schutz? liebes KLnd, deine Mutter kann dich nicht mehr schtitzen. - Mit deines Vaters Tod ging meine lacht zu Grabe. Paminas Mein Vater.... Konigin; ., .tlbergab freiv/iliig den siebenf achen „ Sonnenkreis den Eingeweihten; diesen machtigen Sonaenkreis traet Sarastro auf seiner Brust. - Als ich ihn daruber beredete, so sprach er mit gefalteter Stirns "WeibI meine letzte Stunde ist da - alle Schatze, so ich allein besass, sind dein land deiner Tochter," - Der alles verzehrende Sonnenkreis,., fiel ich ihm hastig in die Rede,... ist den Geweihten bestimmt," antwortete er.- "Sarastro wird ihn so mSnnlich verwalten, rde ich bisher. - Und nun kein Wort welter; forsche nicht nach IVesen, die dem x\ weiblichen Geiste unbegreiflich sind, - Deine Pflicht 3,st, dich^^und deine Tochter der Fflhrung v/eiser Manner su uberlassen," "

4. ibid. l,xv. p. 69o 5. ibid. l,viii. pp. 42-45. "HLemit kannst du allmachtig handeln, der Menschen Leidenschaft vemvaodeln,.

6. ibid. Ijxvil. pp. 75-76, 7. ibid, l,viii. p, 50, It is important to note that the three boys are not ejjpressly under the authority of the KSnigin der Nacht, It is probably a failure to understand this point accurately, which has led to some of the prevailing misconceptions ccnceming the alleged 'change' of plot, "Die drei Damen; Drei KnaD':\ien, jung, schon, hold imd weise, Umschs^eben euch auf eurer Heise; Sie werden eure Ftihrer sein, Folgt ihrem Rate ganz allein," L53

Hafner earlier inclined.^ The naive Papageno bceoacs the tool for satire, v/hen ho shov/s liis deteriainatioa to save Pamina s. "Eh' ich mich zuruckzioho, soli die Erdo mich verschlingen, (I3r sialrt hinabo) 0 ihr GotterS"^ The main represeatativG of mgic, which, in this respect, is synonymous vdth evil, is the Eoziigin dor ITacht. Sarastro possesses only the mgic of huiaan v.lsdoza. ^^ven 'dcr siebenfachG Sonneakreis.', which he inherited fron the Queen's late husband, nxast be wielded properly, ii' it is to esrercise any powerIt is the symbol of Ccsrast^o's authority and not the magic wand, in vfaich the 3oaigin der ITacfat woiild believe.^ As a sign of its linitatioas the magic flute, of which Tanino has solo charge, has oaly the power to attract animals and birds, both of which disperse at its silence.^ It might indeed have possessed the power to transform passions, but never does Tazaino take advantage of this knowledge, which the three ladies-in-waiting have imparted.^ Tamino is his ovjn preservatioa. Qa the other hand the Zaubergl^ckchea, being the property of a less worthy persoa in Fapageao, are used, and repel Honostatos aad the slaves by forcing them to dance and narch off the stage The throe boys are supposed to guide Papagono and Tamino to Sarastro's tes^le,'^ They neglect their duty as far as Ripageno is concerned but ensure that Tamino arrives at his destination. Although the opinion has beea voiced that the three boys, who originally serve the KSnigin der STacht, suddenly appear on the side of Sarastro, their true significance can only be realised in terms of their relationship v/ith Tamino, the seeker of v/isdom,^ Their i2nsv;erving loyalty to his cause not on3y contradicts such criticism, but also serves as the justifi• cation of Tamino's course, as he is gradiaally and arduously 159(a)

1. cf., pp. 1^, 158, 161-162, 2. Z3. l,3rv. p. 58. " Verwandlung. . ^ Das Tneater verwand e^t sich in einen Hain. Ganz Im Grunde der Buhne 1st ein scho'ner Tempel, worauf diese Worte stehen; "Tempel der Weisheit". Dieser Tempel filhrt mit Saulen zu zwei anderen Tempeln, rechts auf dem einen stehtj "Tempel der Vernunft", links stehts "Tempel der Natiar". 3o ibid, l,v. p, 32. "Tamino; Kommt, Madchen, fuhrt michj - Pamina sei gerettetj -(Der sSsewicht falle von mueinem Arm; das schwore ich bei meiner Idebe, bei meinem HerzenJ o o o" 1, XV. p. 63. "rtiester s Wo willst'du, ktihner .Fremdling hin? Was suchst du hier im Helligtum? Tamino; Der Lieb und Tugend Eigentum. Priester; Die li/orte sind von hohem Sinn! Allein, wie willst du diese finden? Dich leitet Lieb und Tugend nicht, Weil Tod und Rache dich entztlnden," Rommel remarks of Schikaneder's hero in his later 'Singspiel' 'Der HiJllenberg oder Prtlfung und Lohn', "Aber erst, als sich zeigt, dass sein Herz frei von Rachsucht ist, gelangt Hermenos in die'Pyramide der Ruhe und des ewigen Itiedens", xim mit Weib und Kind em verelnigt zu werden," . AWVK. pp. 5259 526. cf., SHB. pp, I87-I9I0

4. ibido l,v, pp. 63-67. 5o ZB. ll,xxx. p, 177. "Sarastro; Die tJtrahlen der Sonne vertreiben die Kacht, zernichten der Heuchler erschlichene Macht."

60 ibid. Nr. 18, Chor der Priester. pp, 118-^119

7c cf,, pp. 82-100, 101-119.

8, ZB. l,xv. pp, 65-68. 159

enlightened. These are the good fdries of the opera 1 The Koaigia der Hacht synbolizes the passiag ago of superstition aad inagic, as it struggles vainly against the gathering forces of the age of oaligliteiiiieat She latter is ezubodicd in the fig-ure of Sarastro, who pr-ovides the light of reason. The three temples also pley aa 2 importaiit role in thic; symbolism, ITatisre aad l^cosoa form the two aspects of wlsdosa, the ceriore tcsiple iato ivhich Tamino is led,^ Hature, or the eaotioaal react ions, such as are i/itaessed when Tamiao desires reveago for the abductioa of Fasiina,^ must be coatrollcd by iieason, as provided aad practised by the priesthood before laaa caa attaia to rjisdom. In the face of wisdom the"JBnl'ji'a do r Nacht is powerless, which is finally the ccoo towards the 5 end of act 2, whea she is dispersed ia th^ face of Ciarastro 0 Ihe allegory is further maintained with dawa gradually breaking throughout the initiation cereaor^r. The synbolisa itself is a relic of the Baroque theatre, although the path to enlightenment, which has been depicted ia earlier works by ScbikaaederJ is a backivard child of the oighteeath ceatury. Through sufferiag the iadividual achieves Imowledge and condemns the age of superstition. The syrnbolle '"(.struggle between the tivo ages is humanly related by Tamino's escperienceo At first Tamino remarks that he is puzzled to discover that the ]25?aigia der ETacht is nob a good power The naive, moral concepts, v/hich hitherto have served him wellj, are suddcsily and inevitably shaken. At this juncture the thought of Pamina and her possible distress is oaly seeondarys " ^amino Erklar dies SStsel, tausch mich aichb? Ps?iester Die Zunge bindet Eid und Pflicht. 160(a)

1. ZB. IsXV, pp. 66-67.

2. Armc. pp. 980-98;, 496.

3e ibid. p. 495ff o 4, Mozart did not recommend the opera. BWAil. V2. no.335. p. 536. M-(An die Gattin in Baden bei Wien)„, .Tune labh, 1791. " - ich gieng dann xim mich auf zuheitern zum Kasperl in die neue Oper der Fagottist, die so viel IiSrm macht - aber gar nichts daran ist,-"

5o AITVK, p. 496.

6o ZB. l,xv, po 64. "Eriester; Erkiar dich nSher mir, dich tSuschet ein Betrug."

7o WTA, 1804. 160

Tamino Wann also v/ird die Decke schcJinden? Ppiester Sobald dich fuhrt der Iteundschaft Hand. ins Heiligtum zum ow'gen Band. (Geht ab,) Tamino . 0 cw'ge IlachtS Uann wirst du schvdndcn? wann wird das licht mein Auge find en? ^ " The liteotto has been further criticised on account of the change of character, which the Konigln der ITacht and Sarastro appear to undergo^ With little sound evidence it is assumed that this change occurred as a result of the production of a Singspiel with a similar plot in the Easperltheater? Such a Singspiel, 'Kaspar dor Pagottist' by Perinot and Eiiiller,^ v/as, in fact, given its first per- fomance in that theatre on the 8th June, 1791 f It resembled the plot of 'Die Zauberf lote' in soae things, but only revealed that both operas T;ere part of the same tradition, The libretto of 'Die Zauberflote' contains no evidence of such a flaw in its construction. The Sonigin der IJacht is only conceived as good by one person, Tamino, Later his somewhat prematizre and gullible way of thinking is condemned by the priest as 'Betrug'? and his choice is then to believe either in the Kiinigin der ITacht or in Sarastro, Only when the relevant pages are omitted, does a 'break' appear, as it did at the re-opening of the Leipzig theatre on April 12th, 18C5. Die P16tzliche Vers^hnung Warum vmrde so schnell hier Rache in Ereundschaft verwandelt? Weil - so spricht der Souffleur, well man drey Seiten vergass,^ " Nor is it impossible that such an accident could give rise to a whole era of misunderstanding concerning the 'break' in Schikaneder's text. The dramatic use of revelation or recognition v/as ia(a)

ZB. lljViii. p. 106 "Kfinigins v:as hfir ich? - Du, meiae Tochter, k6'nntest die , schSndlicheii Grtoe dieser Barbaren verteidigen? - So einen IJann lieben, der mit meinem Todfeinde verbunden, mit jedem Augenblicke nur meinen Eturz bereiten i^irde? - Siehst du hier diesen Stahl? - EP ist flir Sarastro geschliffen, Du varst ihm tSten, und den machtigen Sonnenkreis _J _ Ih ti^X'^^^ II mir uberliefern. a s 161(a)

1. . cf,, 'Der Grandprofos'. pp. 113-116. 'Der redliche Landmann'. pp. 179-185. 'Die getreuen Unterthanen Oder der ehrliche Bandit', to. Ts. •Der wohltatige Derwisch'. pp. 167-169-

2. ' cfpp. 48(a).4. 33-5^.

3* cfpp. 82-100, 101-il9. 4. cf,, pp. 82-85.

5, cf., p. 148.

6* BWAM. V2. ao.l95. P* 121, M-IM 26th September, 1781. "Der Janitscharen Chor ist f& einen Janitscharen Char alles was man verlangen kann. - kurz uad lustig; - und ganz fiir die wiener geschrieben, >- Die aria von der konstanze ha be ich ein wenig , , der gelaufigen gurgel der Madelle Cavallieri aufgeopfert. - Trennung war mein banges loos und nun schwimmt mein aug in Tranen - ha be ich, so viel^es eine wSlsche Bravour aria zulSsstj auszudru'cken gesucht. - "

7. ZB. l,vi. lr,4. Arie, pp. 33-37- ",..Zum Leiden bin ich auserkoren, denn meine Tochter fehlet mir, durch sie ging all mein Gltfck verloren, durch sie ging all mein Glitck verier ens ein Bdlsewicht, ein Boseivicht entfloh mit ihr, Noch seh ich ihr Zittern mit bangem Epschttttern, ihr Sngstliches Beben, ihr sch^Ichternes Streben, Ich miisste sie mir rauben sehens "Ach helftS ach helftj" war alles, was sie sprach; allein vergebens war ihr Plehen, denn meine Hilfe war zu schwach9(cf,,p.l58(a),3.,) denn meine Hilfe war zu schwach. Du, du, du vdrst sie zu befreien gehen, du wirst der Tochter Better sein, ja, du wirst der Tochter Better sein.,," This compares favourably with Sarastro»s opinion of her as a proud ivoman: ibid. 11,i. p. 91. ^ "...Pamina, das sanfte, tugendhafte Madchen, haben die Gdftter dem holden Jflngling bestimmt, dies ist der Grundstein, warum ich sie der stolzen Mutter entriss. - " \ ISI

commoii in Scbikaneder's other works for the Viennese stage^ and is clearly a related theme. As such it is inherited from the Viennese popular theatre under Hafnerg who was himself conscious, of 'Theatraldunst'^ and the manipulation of 'Betrug*^ and who, eventually, like Schikaneder^ strove for the dramatic ideal of. "betterment of character ."^ Schiebeler, whose 'Idsuart iznd Dariolette* first appeared on the Viezinese stage in 1767* reflected similar views in the characterisation of his hero^^ . Mozart appears to have been in agreement with the interpretation of the Eonigin der Hacht as good only in Tamino*s eyes, This concurrence is reflected hest in the tone of the music which dominates her two arias Uozart had earlier condemned hravura as artificial and superficial music f so that there is in 'Die Zauberflote* not onJy a textual representation of .'Betrug*, hut also a musical one. The Kb'nigin der Uacht stands condemned hy her bravura. Apart from her symbolic value the Konigin der Nacht Ts~motivateQ~ in'humaff'temgT'^ Primarily as a widov/, vAio dotes on Paminaj the only remaining member of her family 9 and then as a distraught mother, whose daughter has been snatched f3?om her, she is depicted in an almost feline way, as a frustrated womian determined to have her own wishes fulfilled! The main cause for the mother's distress is that her daughter has left her alone 7 Uo mention does she make of her anxiety for the horrors, which her daughter might be undergoing,^ This is either a callous mother, or one who knows that Sarastro is not an evil, force. The suffering of the Konigin der Nacht is self-pity .-^ Contin• ually thwarted she has recourse to try and murder Sarastro ,^ In this attempt she shows little appreciation of moral values, nor does.she reveal any real, maternal feelings for her daughter, as it is Pamina, to whom she entrusts the murder,* Her actions would thus indicate that she was 162(a) lo- BSo pp. 203-212. 2o KV/AM. poWff. 3o iiSo Pb 91o U.ozart became a brother of the lodge »Zur V/ohltatigkeit» on 14th December sl784, 4o ibido pp. 117, 126, 12?. do ibid. 66 Mo p, 33. 7* mJAMo p. 1^9. 8, ZB, 1, p* 111. Den ISten Ma'rzj 1801. Wiens gedruckt mit Jahnischen £chriften. V .3 6 "Dass lilozart hier mein Ecuder war, Weiss Ja die ganzo Rpiesterschaar,so . "

96 E8o p. 91. lOo ibid. p. 203ffo lie cf. , pp. 33-54, 78 , 79 9 91-100. „ Nettl maintains that "Die Zauberflote. P.2." also embodies a specific reference to free• masonry, as it contains " "Bund", "BErClder", the Erobationc, the Sgyptian milieu and primarily the three-group rhythm of the overtxjre", GBS, po 95c 162

aware of - the' danigeps ~oT' Sarastro' s • fndbdtrlnatlloh' ' There are grounds for the belief that the prieEthood in '*Dle Zauberflfite' is a deliberate reflect ion of flreefflasonry. jCertalnly the ritual of the initiation cerenwny and the hero's probations would aiopear to be ol<|8ely asspclated with ^ - fipeemaaonryo[ Both Leopold Hozart and l?oifgang EcizBrt were freemasons in Vienna. Schikaneder had belonged to a lodge in EegensburgJ but had been suspended for sis monthsf an unusual procedure in freemasonry. Cfiie re-. liable authority denies that Schikaneder was ever allowed to attend meetings again and insists that he was not a Brother of the Lodge »Zur Heiagekronten Ebffnung* as was supposed. iinother source maintains further 'Der wiener log;© hat er nicht gdiSrt'. J A new verse to Fapageno's song, first heard in 1801, infers hoi7ever that Schikaneder and Mozart were both members of a lodge It is quite certain, whatever the issue of the above, that Schikaneder was acquainted with freemasonry and its members,^ and Ebmorzynski is very persuasive when he argues that only actual freemasons may compose or write for a lodge, which,

apparently both Schikaneder and Kozart dido^ Evidence of Schikaneder's actual membership is not to be fomd in his ?;orks, but there is proof of his related -interest«° His vocabulary alone utilises, almost synony- moiisly, as did Hafner, the Old Viennese Popular Theatre and the Wanderbuhne before him, terms such as 'Bruder', »Ereund% »Bund» and 'Ereimdschaft *«" A recurrent theme in bis plots, both musical and otherwise, is the attainment of happiness through suffering and hardshipo Hfhere is no easy road to happinesso In addition 'Die Zauberflote' offers the rituals associated with a priesthood o The symbolism and form of freemasonry is, moreover, to be found in the libretto of «Die Zauberflote», as well as in Mozart's mystical opening to the ouverture« Of the numbers 3 9 5 and 7 which play a part in the ritual of 163(a)

IS, cf., pp. 126-129. 15, F.;7iil. p. 150.

1^!-, Both Kario ^heresia and Leopold II opposed freemasonry. At first, Joseph supported it, but eventually became suspicious of its power. ES. p, 210. EE. p. 564ff.

15. ZB. ijxix. pp.""85-86. 163(a)

1. MM. p. 152. . 2. mz. 3t, 1. p..65, 3. ZB. 11,2:iii. pp. 105-106, 4. ibid. Ijxix. pp. 85-86. 5. ibid, lljxxviii. p. 144. "...Zwei schwarz geharnischte MSnner fdhren Tamino herein..." 6. ibid, ll,x3cviii, p, 145, "Der, welcher wandert diese Strasse voll Beschv/erden, wird rein durch Feuer, IVasser, luft und Erden*"

7b m. pp. lAS-151. (ivO 'mio was the original Queen?'

8i ZBp. pp. 10-11. "Eines muss ihm zugebilligt werden: er war ein Meister der Inszenierung allerersten Ranges, Er ist der Heinhardt seiner Epoche, der in Eegensburg vor einem Freilichttheater der Dreitausend spielt, der aus Schillers Raubern ein grosses Prijnks und Kriegsspiel macht und, ein ^JTienerischer Ahnherr Rostands, in Fressburg eine HUhnerkomSdie veranstaltet, wofur in den so beliebten Tierhetzen schon eine bodenstSndige Tradition vorlag, in der auch Papageno zu verankern ist,.." Eipeldauer reports that the settings alone were applauded by the Viennese, EDB. 28 Heft, 4, Brief, p, 51-.

cf,, pp. 112-129, 155-188, 192-205.

9o For further instances cf,, MA£i, pp. 150-15^-,

10. GBS, pp, 88,89. 11, RE. p. 264ff, "»The Ereemasons', says the contemporary Caroline Pichler, 'carried on with almost ridiculous openness and ostentation. Masonic Songs were published, set to music, and sung; Masonic sings were worn as jouooux on watches, ladies received white gloves from • apprentices and aourneymen, and many fashion-^ able articles - such as white satin muffs bordered v/ith blue - were named a la francma9on , •» 163

freemasonry, 3 appears frequently,^ as it has done throughout the works of the Viennese popular theatre,^ However its origins in the latter.instance, appeared to be mystical rather than masonic and wou3.d stem f3?om the Baroque figuce of the Holy IPrinity, The number 7 attains a degree of importance by its inclusion as the ultimate symbol of wisdom in »der siebenfache Sonncnla?eis' Elonostatos is punished by 'siebenundsiebzig Sohlenstreiche»In free• masonry two or three helpers are used to conduct the uninitiated through the strange ceremony. Tamino enjoys the privilege of similar assistance f He also undergoes the elemental ordeals of fire and water ,^ The sun is a symbol of enlightenment to the initiated, whilst the masonic moonj, the symbol of neither darkness nor evilj despite, Bppphy's allegations to the contrary^ is not un- reliated to the Eonigin der Nacht, The progression through the various masonic orders, is reputedly spectacular, a particular quality of almost all Schikaneder's works for the theatre.^ . liJusic is included in masonic ceremonies, much in the form of a church service, which, after all, has its parallel in the Slngspiel, The temple affords a further association,® Goethe firmly believed that Schikaneder's work deliberately sustained the beliefs and practices of fteemasonry.^° Certainly it v/as in accordance, with Schikaneder's earlier policy as manager of a theatre to lard his plot with topical interest" as his 'Hanns Bollinger' showed Shortly before 1791 freemasonry was banned in Vienna, by Leopold IIand what could attract an audience better than the representation of a society which had recently been forced to meet in secret.^* Charity, however, one of the main principles of the brotherhood, is not practised in the case of the EBnigin der Nacht; [nor Si L'. the case of Monostatos's f irst transgression. Representing 164(a)

1. ZB, 11,XXX. pp. 175-176. "Zerschmettert, zernichtet ist unsere Macht, wir alle j^estiirzet in ev/ige Nacht S "

2. ES. pp, 170-181. '"Die Zauberflote", Entstehxmg,' p-, ifcid. p. 195. "Auch Mozart und Schikaneder kannten Terrassons Roman, sie fanden ihn in der Loge", 4, cfpp, 96-98. 5, cfp. 89ff. 6, cf., p. 49(a). 8. 7, A17TL.E, pp.XVIII-XXII.

8, HGS. V$i pp. 110-111. cf,, p. 49. "...Der Wiener behSlt sehr leicht Melodien im,, Ohr, er hart sie oft im Theater, imd jede gefallige Melodie wird ihm von Hautboisten und Harfenisten im Prater und in alien Gasth^ffen und Bierschenken so oft wiederhohlt, dass er sie nicht vergessen kann, und der Gassenlieder nicht mehr bedarf," EDB, 1796. 32.Heft,(1797). 6 ficief, pp 50, "Aber der Compositori vor der IMsik hats fast noch barter als der Autori. Weil jetzt z'Wien alles aufn Klavir herumtappt, so wolln Jetzt auch alle Musikkenner und Kennerinnen seyn, und verlegn sich also aufs Kritesimj aber freylich urtheilen s'manigsmal, wie der Blinde von der Farb. Einmal sind d'Wiener z'frieden gwesen, wenn s'ineiner Opra nur ein Arie gfunden habn, die ihnen gfalien . hat, und wenn ein schSns Duett drin war, so ist J d'Opra in ihrn Augn schon ein Masterstuck gv;esenL,, o . "

9. ES, pp. 170-200,

10, cf „ p, 151(a)

"'Ta, hoilig sei uns diose Pflicht, Die uns so hohen Lohn verspricht. Tir wollen uns der Menschheit weihn, Ja - oa - vfir wollen Menschen seyn," ZBp, pp. 45-46.

17. DDS. p. 124, "Die Gegensatae der Charaktere vermogen in eijier andern Oper kaum so herauszutreten als hier. Ein ' liebender und zSrtlicher Hitter und Held, ein drolliger Khappe, eine hingebende Pee und ein finsterer Zauberer, Ch6're der Geister und ChSre der Bauern Oder Burgleute und die musikalische Begleitung all des Spuckes, der sich durch das ganze £t{ick hinzieht, alles das kann der Phantasic des Tonsetzers wenn er seine Aufgabe nur zu begreifen und auch poetisch zu bev/Sltigen weiss, hinreichende Nahrung geben". 18. Schikaneder»s first Zauberoper 'Der Stein der neisen oder die Zauberinsel' has been shorn by Eomorsynski to be the ^forerunner of 'Die Zauberfl6'te» SS. pp, 168, 272. 19. ES. p. 556. 20. AT3VK, p, 462. First performed 14th October, 1795. 21. Music by Schack, Gerl and others, ES, . p. 275, 165(a)

1. 017, »An den Leser*. 2. . cf., pp. 89-91.

5. . cf., pp. 90-91. 4. cf., p. 164(a). 5, TSB. Pi, 7. "Ein unumstSsslicher Beweis. dass das Werk Terrassons und zivar in der ubersetzung des . , Itothias Claudius filr die "Zauberflote" beniltzt wurde, ergibt sich schon bei Vergleichung der folgenden fiberschrift ilber dem Prtlfimgstempel mit den I7arten der 'zwei geharnischten Manner vor Beginn der Feuer= und Wasserprobe.,," Even this evidence and other scenic parallels which the same authority offers, are a little too fragmentary to be entirely concliasive as proof of deliberate and conscious borrowing,

5. cf,, pp. 15-14.

6. cf,, pp. 59^5.

7o cf „, pp. 82--85.

8. cf ., pp. 85-91.

9. ES. pp. 193-196,

10. cf,, pp. 154-155. ES. pp, 184-187.

11. ibid, pp, 187-195. cf „ pp. 154-155. 12. ibid. pp,i72ff.;

ES. pp, 73^757 215.

13. AWK. p. 500ff'. • 14. cf,, p, 160. 15. ES. pp. 181-184.

16. 8IT. Ts„ Af/VK, p, 554ff. The ^flenschheitsthema' of 'Die ZauberfiS'te' recurs in Hensler's 'Kasperl, der unruhige Wanderer' in the duet between the priest Sambukko and Gargantos; 16§ which are all related to the tradition, and which exclude Schikaneder • s own, have all. some bearing on, or relation• ship with, the textual content of .'Die ZauberfiSte». Many of them are products of the same tradition, which produced 'Die Zauberflote»s 'Huon von Bordeau3c' by Graf Tressan} Chaucer's Merchant's Tale^ and The Tale of the Wife of Bath,^ 'The Beggars' Opera' by Gay,^ 'The Devil^<^ to Pay' by Coffeyf Abbe Terrasson's essay on ths Egyptian mysteries f the Teutscae Arien,^ 'Meg&?a, die f Srchterliche Hexe' by Hafnerj and, in fact, most of his other plays for the popular theatre, 'lisuart .und Dariolette'^ by Schiebeler and Hiller, the later Siungspiele of Hi Her and Oeisse,' 'Thames, Konig in Agypten'.by Gebler,® 'Oberon' by raieland/" 'Oberon, Oder Konig der 31fen» by SeylerJ'and 'Oberon, Konig der Elf en» by GieseckeV Mozart's'Die Entf lihrung' 'Handeln macht der Mann, Oder der lireimaurer' 1:^ Hensler,*' 'Kaspar der Fagottist* by Perinet and HenslerJ* 'Das Sonnen- fest der Brahminen' by HenslerJ^ and after the appearance of 'Die Zauberflote' in 1791» *Der unruhige Uanderer Oder. Ifesperls letzter Tag' by Hensler? The list is not ex• haustive, but it contains sufficient material which is specifically Viennese popular theatre to show that it is at least feasible for Schikaneder to have created the libretto to.'Die Zauberflote' without necessarily having recourse to material foreign to his theatrical experience and inheritance. As further proof of a traditional in• heritance, Schletterer's reconstruction of what, in his opinion, constitutes a typical 'Singspiel' plot, hardly differs at all from the course of, events in 'Die Zauberflote»P'

Two further Zauberopern by Schikaneder, 'Der Zauberpfeil oder Das Kabinett der Wahrheit »^ and 'Die' WaldmSnner'^ appeared in 1793 and achieved a moderate success, 'Der wohltatige Derwisch'^* continues in the same tradition but there appears to be some doubt whether 166(a)

I, ON. Ts. Edition printed in 1791- 2i Komorzynski places the first performance in 1795, "tbe 10th September, and believes that it i7as printed in the same year. ES. p. 275.

3* ' Dm. 6'N. Ts. l.vi. cf., p. 153(a;. 5*.

46, ES. op. cit. pp. 273-281. Komorzynski gives a detailed plan of the text. 5 b ibid. cfpp. 55-54, 160-161. 6i cf., pp. 82-85.

7* iro, ON. Ts, pp, 5-4. " Arie des Sofrano; ' Wei one nie emprund''ne Freud e lieb und Reichthum kr6'nt midi heute Mich beglflckt bey Gut und Geld Das schonste Mdchen auf der Welt, lieb und Geld, und Geld und Uebe Eind der Menschen hSchste Triebes Wahrlich ich bin ausser mir Geld und Liebe lachelt mir."

8* ^ ES. p6 274. 9* ibidb "Sofrano, mein SohnS Dein Vater spricht mit dir, dein weibisches Betragen v;ird erwogen md alle Hilfe dir dadurch entzogen, doch willst du siegen, \| wohlS so sei ein Mann und dring auf deinen ^ Feind rait Allmacht an, ist er der Kraft durch deinen Arm beraubt, dann wind' ich selbst den Lor beer urn dein liaupt.' (er verschwindet unter Donner und Blitz, die Saule steht wieder wie zuvor,)" 10, ibidi p. 280*

II. cf,, pp. 159-161i 166

it was first known in 1791* or 1793^ Its sub-*title 'Die Schellenkappe» was later included at the Leopold^ stadttheater in ^Der unruhige Wanderer oder: Easperls letzter Tag' by Hensler, in which Easperl is persistently reminded by a cap of bells that he is placing himself in moral danger? In this way,' the practice of free adapta• tion continues as a part of the tradition of the Viennese popular theatre. .Schikaneder did not complain that others adapted his works, nor did any of the contemporary alma- nachs deign to comment, in any detail on this custom of - theatrical life.

In the tradition of the Wiener Volksstuck the hero of 'Der wohltStige Derwisch'f Sofrano, is depicted on his quest for the heroine ,= Zenomidet The princess is initially false at heart. The Dervish, unknown to Sofrano, is his father, again laying the foundations for a typically popular revjelation scene ,^ and is being persecuted 1^ Abakuf, the Shlek of Basora? The Dervish places his treasure in the hands of his hitherto immature^ son, and the latter foolishly believes that it will buy him the love of the princess.^ The Dervish warns him that the gold vjill win her hand^ but not her heart * When Softano, after much typical meandering j and after effective comic scenes by the popular figures, Mandalino and Mandalina, acknowledges his wrongs the Dervish re• appears and warns him that if he now acts like a man aoi robs Abakuf of his powers, he himself will set the garland on his head? Frcm. this point the plot runs its expected cotirse and Zenomide is ultimately transformed into a good person who glows 'in flanmender liebe'.^ Both hero and heroine experience the popular betterment of character, as did Tamino and Pamina before them.^' The' arrangement of the conflicting parties compares 167(a)

1. ES. pp. 272-505. 'Schikaneders Wiener Dichtung. Opern,' 2. ibid, p. 275. 5. ibid, p,. 272. 4i ibid. p. 281. 5. to. Ts, 6. ES. p. 272. 74 ibid, pp, 275-281. 8* cf ., pp. 67-68, Th* Osiris and Isis are godheads of the priest^ hood. cf., pp, 67-^78. Sethos,»Oberpriester des Sonnentempels', is ultimately revealed as the father of Tharsis, alias Sais. Even light and Darkness suffer a similar symbolic treatment to that of 'Die Zauberf 16'te». A closer comparison betv/een the libretti of 'Thames' and 'Die Zauberfl6'te' wou3.d in all probability sustain the belief that the latter ov;ed more to the former than to Terrasson's essay on the F^yptian mysteries. ' cfp. 165(a), 4. ES. pp. 195-196, 9. EB, V7, p. 279. "Dervish in the middle east is a member of a Muslim religious fraternity, whether mendicant or not, resembling in some respects a Christian monastic order. The fraternities arose within Sufism, which is in origin religion at an individual level, the single soul seeking its own salvation; .occasionally such an individual would gather round himself a band of devotees under instruction, v;ho shared his life and religious practices,..."

\ 167

with that in 'Die Zauberf lote' and. so remains in the ti?adition of Viennese Zauberopern^ The music to the opera was composed by Gerl and Schack and others,^ Its source has been mooted as two legends from Wieland's oDschinnistan', •Die Prinzessin mit der langen Nase' and 'Der eisesne Armleuchter', Schikaneder's* ability to seize inspiration, from another source has been noted by the same authority*^ The work was first perfomed on September 11th, 17939 and has been described as the forerunner of Eaimund's 'Der Barometermacher auf der Zauberinsel'.''" The library edition of 'Der wohltStige Derwisch' bears the date 1791 f which places its creation in the same year as 'Die Zauberf lote'. It does not preclude the possibility that it was in fact written in its libretto form before this opera* as was 'Der Stein der ^eisen'f Whatever the date of its exact origination, it is undoubtedly related very closely to 'Die Zauberf lote' in addition to the general arrangement of its plot and figures,^ The Dervish, for instance, represents a religious order, the fact of a dedicated priest being ultimately revealed as the father of the hero or heroine, relating the libretto even to the 'Thames' of Gebler.^ This order is a ftaternityi Almost realistically, Schikaneder presents the main devotional exercise of the Dervish, 'Dhikr (zikr)' or 'remembering',^ and portrays it truthfully as s mendicant orders ^ " Derwisch Hier mussen wir uns beide trennen IG.er ist die Grenze schon, Sofrano Du solltest m3.ch verlassen k^nnen Ziehst ohne mir davon? DejTwisch Das Schicksal wills, du mussu dich fassen«: \ 166(a)

1. :3o l.gDuett. cf,, 3S. p„ 273, 2. i'oLd. cf., i:S. p. 274.

3. Po 275ffo 4. ibid.

5« 2S. p. 275. 168

So£cano Von Pteimd und Aeltern aanz verlassen , . . Ist niemand der loicii trosten kamio Derwisch Entf emung kazm zwar Il»emde trermen, Doch Dankbarlseit vdrd stets erli:ennezi Was du mir ^mea guts gethan. Als Settler nahmst du mich 2;u dip«"^ The same morality, whose tone pervaded the priesthood of • 'Die Zauberflote', predominates here also, and the termin• ology is virtually'the same s " Sofpano Diess lehrt der Menschheit heil'ge Pflicht, Perwisch Du reichtest (Eranlc und Speise mir. Sofayano ' Diess war als Menschj ja msine EClichtp Derwisch Du wichst von . mir in Ecankhelt nichto Sofrano Diess lehrb der Menschheit heil'ge Pflicht. Derwisch Hier lohnet Mgnschenlighe schon, Tfiid dbrten kront sie hochster Lobn, Coupled with the religious timhre of the work is the customary popular appeal for the 'long-eared» members of Schikaneder's audience^ This is the attraction of Mandalino and Mandalina? the theatrical offspring of Papageno and Papagena.' He manages to give a new f ilip to an old practice of the Wiener Volksstuck where husband and wife came to blows In Schikaneder the late eighteenth century is moving towards emancipation of woman and, in so doing, the latter enjoys her prerogative of beating the husband o I69(s)

1. ES. p, 275.

WDo i., Duetto pp. 5-6.

2« WD. 1,, Duett, pp. 5-6.

3. cf,, ES. p, 272. 4. ibid. p. 281. 5. GddL. p. 161. 6. ES. pp. 286-287.

7. iMd. p. 281. SA, dNo Ts. > 80 ES. pp. 281-2870

9o cf,, pp. 82-85, 39-^3. 10„ SA. 6'N, Ts.ES.pp. 281-286. llo cfpp. 39-^3. -VI 169

After a violent encounter, in v;hich Mandalina beats landalino for indiscretions outside his marital status/ the chorus ironically suinmariizes the episodes

"So einig wie wii? beide Sind selten Mann und Weib Wir leben wie 'die Kinder Uhd sind ein Seel» und leib." ^ This relationship, between 'Die Zauberflote' and »Der wohltatige Derwisch' offers further evidence for Schlkaneder's sole responsibility for the libretto of the former? It further ensconces that libretto in the tradition of the Viennese popular theatre,, so that it cannot, jnistakenJ^, be regarded as the pure and original creation of one manes' conscious thought,

»Der Spiegel von. Arkadien* was first performsd on the 14th November, 179^$ and also enjoyed a moderate success. Its source might again be presumed to be.tJieland's »Der

goldene Spiegel*, which appeared in 1772f Even more obvious is its relationship with 'Die Zjauberflote', as its composer was Siissmayer,^ Mozart's former pupil and the man who successfully completed Lfozart's Requiem after the latter's death.^ In doing this he copied i!5oza!?t's style as closely as he could and employed the same method in composing for 'Der Spiegel von Arkadien'. The work, ineptly called a heroic-comic opera j for it contained little that was truly heroic, had the sane embodiment of good and evil powers,^ which were character• istic of the Zauberoper. since 'lAsuart und Dariolette»,® Similarly, the moral conflict consists of the struggle of good against evil and the former's final triumph2° Inter• mingled in this magic brawlingj is the[8ugge8"tlon- that man^ by his ovm. mortal and unmagical efforts, might be, at least, partly responsible for his own fate, a blend which ' \ recalls Bafner 'is proportioning of magic 1^ Human cognizance 170(a)

1. £A. l,i. :\r-ie. Ballamo. 2* ibid. 11.9 po ?.l. Jupiter, Juno. 36 ES. ppo 284~285ff. 4. ibid. pp. 283, 284. 5. SB. lljxxix. p. 162. 6. SA. Arie, Tarkeleon. p* 6* "Der Tag der Rache ist erschienen, Zu qufilen diese Oenschenbrut. Ihr Gram soli mir 25um Spotte dienen; I oh dtirste nur nach Tod und Blut Der Hi^llen Qual soli sie ereilen Mit tausendfacher Todespein, Sie m6'gen flohen, winseln, heulen, Triumph wird mir ihr Jammer seyn. Diess hoffen - ist mir lebsal schon; £0 niir racht sich Tarkeleon," 7* ibid. tp. Personen. "Metallic, ein VipernfSnger, Giganle, sein 7eib." 8* ibid. p. 22. Philanie. "Zum Laster mich zu bringen, Hast du schon triumphirt; Doch spott' ich deinem Schlingen, IVeil mich die Tugend fuhrt."

9o ES. pp. 272-305.

10. cfo, p. 158. 170

forms an essential part of; the conflict and, after praying that he might have a v/ife, Ballamo is warned in a tone which re-echoes the religious admonitions of the Baroque stage and, at the same time, the portents of enlightenments

'•Doch lerne erst dich selber kennen, Wenn du durch sie willst glficldich seyn, Sonst wBchbest du den I7unsch bereu'n."* Schikanoder's moral of reconciliation, vMch he inherited from the popular stage, recurs here. The Gods overcome Ballamo»s doubts about the fidelity of his Philanie; "Glaub" uns, ihr werdet beyde Euch lieben und verzeih'n. Belohnt durch liebes Iteude . ¥ersShnt und glflcklich seyn."^ Further connections with 'Die Zaubarflote' occur in abund• ance f so that the opera fulfils the same function as 'Der wohltatige Denyisch'. Two boys guide the right cause along the right path. They help Ballamo and Philanie to choose not the basket of gold, but the bas^t of seed J" from which will grow a race of men,^ an arrangement convenient for the development of a musical chorus p'*' As the three boys in 'Die Zauberflote' prevented Papageao from committing suicide f the two boys warn Ballamo about the poisoned wine.^ Tarkeleon's anger is expressed in an aria resembling closely that of the KSnigin der Nachtf and Hetallio and Giganie replace Papageno and Pagagena, this time as snake-?* catchers for the evil spirit! like Paaina, Kiilanie is guided by virtue and knows that this is the right path.* The quantity of Zaube3?opern after 'Die Zauberf lote»® does not speak for the sincerity of Papageno's satire of the genre.^ It afforded the Baroque 'liiaschinist' boundless opportunity for the display of his craft, besides forming an essential part of the philosophy of a man, who vdshed 171(a)

1. cf., p. 141(a). 9o 2. EDB. 1799. Heft 7. Brief 5. p. ^Iff. "...Aber nichts hat mir besser gfalien, als die geschwinden Verwandlungen. Das geht wie der Blitz, und in der schtfnsten Qrdnung, Da sieht man kein Zimmer davon spaziern, und da bleibt kein Kortin henken, oder in 'Jald ein Sessel Oder ein iialbe Zimmerwand stehn, wie ichs auf mein Ausla'nderreisen z'Baden und z'Presburg gsehn hab. Aufn r/iednertheater verschwinden die Vorstellungen, als wenn s' wegzaubert v/arn." Eipeldauer could write this even before Schikaneder had moved into his new theatre.

3b E£, pp. 282, 283*

4„ cf pp. 39-^-3o

5o ES. p. 281.

6, ES. p. 276.

7, cf., p. 18(a). 7. 8, The same opera v/as later condemned by the "Zeitung fur die elegante iS/elt" (1801. ^,p. 794) "Die Intrigue ist platt ersonnen und hochst armselig ausgefiihrt.. ,der Dialog ist schlechtb" ES. p. 517. cfe, p, 143, 144.

9o ES. p, 312. lOi cf., po 10. 171

to appeal in the production of his works to the 'Schaulust', as v/ell as . the 'lachlust'^ of his Viennese audience, . When he moved, into his new theatre in 1801, Schikaneder ensured that certain technical innovations in the theatre's machinery would facilitate the difficult scene- changes, which he, as producer, demanded! The techniqiie, v/hich gave added speed to changes, v/hich bewildered Eipeldauer even in the Freihaustheaterf was that of flying the battens upwards and then below ground for • storage.^ The opening of the initial curtain was also facilitated by moving it Upwards and sideways at the same timei" Hitherto the, practice of drawing the curtains had been quite dangerous The Zauberoper necessitated the eoployment of magic, which, of course, to a modern mind, is initially an unrealistic and therefore, incred• ible concept. The smoothness in execution, of apparently impossible theatrical situations and scene-chai^es, was the phenomenon, which rendered an audience credulous.^ Thus, in the Zauberoper, seeds grov; into a race of men^ and provide not only musical opportunity, but opportunity for scenic display, as did the 'Wolkenmaschinen» of the early Viennese popular theatre,^ Music is used

1 ]^to entrance Tarkeleon's victims, v/hom he sees approaching through the magic mirror,^ which overlooks twelve rivers, Sofrano's ci-eation of a fully-manned ship^ proTrddes the producer of 'Der wohltatige Derwisch' with a similar opportunity for causing his audience wonderment,^ One of Schikaneder's most effective contributions to the Singspiel was the comic opera 'Der Tyroler Waste! which was first produced in the Freihaustheater on the

14th May, 1796,^ and was printed two years later in 1798, It opposed the unreal absence of class distinction in the Zauberoper, v/hich in its princely intrigues had perpetuated its ties with Stranitzky's Haupt= und Staatsaktioni® It 164(a)

1, ZB. 11,XXX. pp. 175-176. "Zerschmettert, zernichtet ist unsere Macht, wir alio ^^estilrzet in eivige NachtJ " 2. ES. pp. 170-181. ""Die Zauberf lote". Entstehxmg.'

Jo ibid. p. 195. "Auch Mozart \ind Schikaneder kannten Terrassons Soman, sie f and on ihn in der Logo". 4. cfpp. 96-98. 5. cfp. 89ff. 6. cf., p. 49(a). 8. 7. A17TL.E, pp.XVIII-XXII. 8. HGS. V3o pp. 110-111, cf., p. 49. "...Der IViener behSlt sehr leicht Melodien im„ Obr, er hart sie oft im Theater, und jede gefallige Melodie wird ihm von Hautboisten und Harfenisten im Prater und in alien GasthSfen und Bierschenken so oft wiederhohlt, dass er sie nicht vergessen kana, und der Gassenlieder nicht mehr bedarf,"

EDB. 1796. 32.Heft.(1797). 6 Brief. p„ 50. "Aber der Compositori vor der Musik hats fast noch barter als der Autori. Weil jetzt z'T.7ien alles aufn Klavir herumtappt, so wolln Jetzt auch alle Musikkenner und Kennerinnen seyn, und verlegn sich also aufs Kritesim? aber freylich urtheilen s'manigsmal, v;ie der Blinde von der Farb. Einmal sind d'Wiener z'frieden gwesen, wenn s'ineiner Opra nur ein Arie gfunden habn, die ihnen gfalien hat, und wenn ein schons Duett drin war, so ist d'Opra in ihrn Augn schon ein Masterstuck givesen o o .

9. ESo pp. 170-200.

10c cf., p, 151(a)o 80 the force of evil the Eonigin der ITacht must be hiarled into eternal nightHer human motivation does not ex• cuse her crime, the abuse of the gift of motherhood. The relationship betv;een. mother and daiighter, gradually and unnoticeably, ceases to esdst. Many inaccurate observations have been made concerning the creation and content of the libretto of 'Die ZauberflSte' To a great extent the cause of this inaccuracy has been due to the failure to comprehend 'Die Zauberflote' as part of a tradition. literary material has come to light, which is similar to some part of the content of Schikaneder»s text, and deductions have readily been made,^ It is not sufficient, for instance, to state that Ll02^t, Schikaneder and Gebler knew Abbe Terrasson's essay on the ^^gyptian mysteries, even though .^Thames' and 'Die Zauberflote' have certain things in common? The reflection of this theatrical and popular tradition is that a particular terminology and related themes tended to recurr again and again, so that the only true originality v;as the librettist's treatment and method of production.* The simple and attractive music of the Singspiel is,by its nature, an important part of the same tradition. Its music is also popular,^ It might origiaate in the street or on the stage, its melody might be the inspiration of the 'Donauweiber', the 'BsinkelsSnger'? or of Mozart, Haydn, or of the other several musicians in the city. Evidence recurjfs again and again to show this perpetual link between the theatre and the street. Thus the tradition is characterized as Volkstheater.* Both Schikaneder and Mozart figure in its development and decease.

The sheer quantity of mooted sources for the libretto of 'Die ZauberflSte' makes the.hypothesis of deliberate piracy appear very unrealistic,^ The following works. 165(a)

"Ja, heilig sei una diose Pflicht, Die uns so hohen lohn verspricht. •/ir X70llen uns der Kienschheit weihn, V Ja - oa - wir wo Hen Menschen seyn." ZBp. pp. 45-46. 17. DDS. p. 124. "Die Gegensatze der Charaktere vermogen in einer andern Oper kaun so herauszutreten als hier. ELn ' liebender und zSrtlicher Hitter und Held, ein drolliger ifhappe, eine hingebende Fee und ein finsterer Zauberer, Ch6're der Geister und ChiJre der Bauern oder Burgleute und die musikalische Begleitung all des Spuckes, der sich durch das ganze Etttck hinzieht, alles das kann der Phantasic des Tonsetzers wenn er seine Aufgabe nur zu begreifen und auch poetisch zu bewSltigen weiss, hinreichende Nahrung geben", 18. Schikaneder»s first Zauberoper 'Der Stein der Ueisen oder die Zauberinsel' has been shown by Komorzynski to be the forerunner of 'Die Zauberfl5te» ES. pp. 168, 272. 19. ES. p. 356.

20. MPJKo p. 462. First performed 14th October,1793. 21. Music by Schack, Gerl and others, ES. . p, 273. 165(a)

1. Gil', 'iln den Leser', 2. . cf., pp. 89-91. 3. . cf., pp, 90-91. 4. cf„ p, 164(a), 3. TSB, p. 7., "Ein unumstosslicher Beweis, dass das Werk Terrassons und zwar in der Qbersetzung des . iJtothias Claudius fur die "^lauberflote" beniltzt ^7urde, ergibt sich schon bei Vergleichung der folgenden fiberschrift tiber dem Prtemgstempel mit den VJorten der zwei geharnischten MSnner vor Beginn der Feuer= und Wasserprobe..," Even this evidence and other scenic parallels which the same authority offers, are a little too fragmentary to be entirely conclusive as proof of deliberate and conscious borrowing. 5o cf,, pp. 13-14.

6. cf,, pp, 39-^3, 7. cfpp. 82-85.

8. cf ,, pp, 85-91, 9p ES. pp. 193-196,

10. cf,, pp. 154-155. ES. pp, 184-187. 11. ibid. pp. 187-193. cfpp. 154-155. 12. ibid. pp.j78ff.;

ES. pp. 737"75^ 215. 13. AWK, p. 500ff', ' 14. cf o, p. 160. 15. ES, pp. 181-184.

16d 8N. TSC MNKc- p. 55^ff. The Measchheitsthema' of 'Die Zauberfl6'te' recurs in Hensler's 'Easperl, der unruhige Uanderer' in the duet between the priest Sambukko and Gargantoss 16§

which are all related to the tradition, and which exclude Schikaneder»E own, have all some bearing on, or relation• ship with, the textual content of .'Die Zauberflifte», Many of them are products of the same tradition, which produced 'Die Zauberflote's 'Huon von Bordeaux' by Graf Tressan} Chaucer's Merchant'G Tale^ and The Tale of the Wife of Bath,*° ?The iSeggars' Opera' by Gay,^ 'The Devil^<^ to Pay' by Coffeyf Abbe Terrasson's .essay on ths i^gyptian , mysteries f the Teutsc.ie Arien,*^ 'MegSra, die fttrchterliche Hexe' by Hafner, and, in fact, most of his other plays for the popular theatre, 'LLsuart .und Dariolette'^ by Schiebeler and HilleTj the later Slungspiele of Hiller and Ueisse,* •Thames, Konig in Sgypteh'.by Gebler,^ 'Oberon' by IJieland/*^ 'Oberouj Oder Konig der Elf en' by SeylerJ^and 'Oberon, Konig der Elf en' by GieseckeV Mozart's'Die Entf iihrung' f ^ 'Handeln macht 'der Mann, oder der ireimaurer' 1:^ Hensler,*^ 'Kaspar der Fagottist' by Perinet and Henslerj* 'Das Sonnen- fest der Brahminen' by Hensler, and after the appearance of 'Die Zauberflote' in 1791» *Der unruhige Uanderer oder. Kasperls letzter Tag' by Hensleri* The list is not ex• haustive, but it contains sufficient material which is specifically Viennese popular theatre to show that it is at least feasible for Schikaneder to have created the libretto to.'Die Zauberflote' without necessarily having recourse to material foreign to his theatrical experience and inheritance. As further proof of a traditional in• heritance, Schletterer»s reconstruction of what, in his opinion, constitutes a typical 'Singspiel' plot, hardly differs at all from the course of, events in 'Die Zauberflote' T'

Two further Zauberopern by Schikaneder, 'Der Zauberpfeil oder Da's Kabinett der Wahrheit'^ and 'Die- WaldmSnner'^ appeared in 1793 and achieved a moderate success, 'Der wohltatige Dervdsch'^* continues in the same tradition but there appears to be some doubt whether 166(a)

I. ON. Ts, Edition printed in 1791b 2i Komorzynski places the first performance in 1733, on the lOfch September, and believes that it was printed in the same year, ES, Po 273,

3* DTO. 6'EI. Ts, l.vi. cf., p. 153(a). 5.

46. ES. op. cit. pp. 273-281. EomorzynskL gives a detailed plan of the text. 36 ibid. ^ cf., pp. 33-5^9 160-161.

6i cf., pp. 82-85,

7b iro. ON. Ts, pp, 3-4, " Aris des Sofrano; ' 7/elcSe nie Gmp±'und''ne Freude lieb und Heichthum kr6'nt mich heute Mich begliickt bey Gut und Geld Das schonste l^Sdchen auf der IVelt. lAeb und Geld, und Geld und Liebe Eind der Menschen hSchste Triebe* Wahrlich ich bin ausser mir > Geld und LLebe lachelt mir,"

8. ' ES, p. 274. 9* ibidb "Sofrano, me in SohnS Dein Vater spricht mit dir, dein weibisches Betragen wird erwogen und al3.e Hilfe die dadurch entzogen, doch willst du siegen, \| wohlj so sei ein Mann und dring auf deinen Feind mit Allmacht an, ist er der Eraft durch deinen Arm beraubt, dann wind' ich selbst den lorbeer urn dein Ilaupt,' (er verschwindet unter Donner und Blitz, die Saule steht vdeder wie zuvor,)"

10, ibidi p. 280.

II. cf., pp. 159-161b 166

it was first known in 1791* or 1793^ Its sub-^title 'Die Schellenkappe' was later included at the leopoldstadttheater in 'Der unruhige Wanderer oders Kasparls letzter Tag' by Hensler, in v/hich Easperl is persistently reminded by a cap of bells that he is placing himself in moral danger? In this way,' the practice of free adapta• tion continues as a part of the tradition of the Viennese popxilar theatre. Schikaneder did not complain that others adapted his works, nor did any of the contemporary alma- nachs deign to comment in any detail on this custom of „ theatrical life.

In the tradition of the Wiener Volksstuck the hero of 'Der wohltltige Derwisch' ? Softano, is depicted on his quest for the heroine,' Zenomide? The princess is initially false at heart. The Dervish, unknown to Sofrano, is his father, again laying the foundations for a typically popular revelation scene ,^ and is being persecuted by Abakuf, the Shiek of Basorat The Dervish places his - treasure in the hands of his hitherto immature^ son, and the latter foolishly believes that it will buy him the love of the princess 7 The Dervish warns him that the gold will win her handj but not her heart,*

When Sofrano, after much typical meandering, and after effective comic scenes by the popular figures, tlandalino and Mandalina, acknowledges his wrong, the Deirvish re• appears and warns him that if he now acts like a man and robs Abakuf of his powers, he himself will set the garland on his head? From this point the plot runs its expected course and Zenomide is ultimately transformed into a good person who glows 'in flammender liebe'.^ Both hero and heroine experience the popular betterment of character, as did Tamino and Pamina before them," The' arrangement of the conflicting parties compares 172(a)

statt backener HShn^, Mniglhasen. Am ersten Tag hat er ihnen gar Katzen vorgsetzt; die werden aber oetzt vor lauter MSusfangen kein Zeit zum Agirn habn. Hernach gibt er linen statt Rebh{{hnl, Rabii und aus'n SavalativHirstn weiss er ein Menge delicati Speiserln z'machen. Ss gehn deswegn auch eine Menge '.7irth und Wirthinen in d'Opera, damit s'die Pfiff recht lernen. Ss ist nur Schad, Herr Vetter, dass d'AkfcSr kein Zeit ghabt habn, d'Rabn und d'Kiniglhasen all z'samm z'essen; denn es isb auf einmal ein Donnerv/etter und ein Platzregn von SpagatschnUrlnkommon, und hat d'GSst ausn Prater vertriebn," Eipeldauer voices the rumour that Act II of 'Der Tyroler Wastel' was plundered from an opera v/hich was to be given by the Nationaltheater, but dis• counts its veracity. ibid. 172(a)

Alles Dort das Wetter X Îrth; iiann nit schad en. Alle; NeinI NeinX NeinJ wir gehn von hier! Eh wir noch Echaden haben, Nc-inS Noinl NeinI wir gehn von hier! Wirth; Auweh! Auweh! meine Haasen Auv/ehl - meine Baaben Frist kein Teufel mehr von mir, (a starker Donnerschlag, das Wetter wird heftiger), Alle; iss donnert, es blitzet, es regnet. Fort lasst uns geschwind^^ nach Haus Fort, dass uns kein Ungluck begegnet, Sonst wascht uns der Reên brav aus, (ein heftiger Schlag). Alle; tSweE! fort! fort! Von diesem Qrt, (Viele Fiacker kommen). Fiacker; Mun fahren wir in die Stadt Ihro Gnaden? Es kostet nur zwei Pukaten, Es donnert, es blitzet,. es regnet, , . Kommt, lasst uns geschwinde nach Haus, Eh lans noch a Ungl{ick begegnet Sonst wascht uns der itegen brav aus.„ (Viele Leute mit Regenschirmen, die ubrigen mit Sclmupftiichern ilbern Kopf, alles l^fuft untereinander darni ab, Der IVirth singt unter Tutty immer allein darunter.) V/irth; O wen! meine Haasen und Raben, Die frisst mir kein Teufel mehr auf, Jezt nennen sie alle nach Haus." 9, cf., ES. p. 313. 10. EDB. 1796. 28 Heft. 2 Brief, p. 16. "Da kommt imter aiidern spassigen Sachen auch ein arenes Herz drin vor, und uber das ist gar sclireck- lich glacat worden. Vielleicht wirds êtzt Modi, dass man auch noch arene K6'pf aufs Theater bringt, damit doch ein Kbpf da ist, wenn's Stuck sonst kein Kopf hat. Nichts aber, Herr Vetter hat mir besser gfalln, V als der zweyte Aufzug. Da lernt man d'IVirthspiff •"^ recht kennen. Da gibt der Wirth sein GSsten 172(a)

1. cf.j p. ,85(a). 7„- 2. cfpp. 35-51.

3. cfp. 59. 4„ TUst. l,i. "ahzlippan? (Den Hut in der Hand mit einen* ijouquet an der Seite.) Eh» sich noch Aurora zeigtej Uahlt ich^diese Blumen aus, Und der Gottinj die mich beugte, Band ich dicsen Blumenstrauss," / 5. cf., pp. 185-186. 6. cf., po 49(a). 6. cf.,K;^14-315, 517.

7. Tl7st, IjXViio Pb 42. Duett, "Die Tyroler sand often so lustig so froh, Sie trinken ihr Ueinel und tanzen a so 3?r{lh legt man sich nieder Friih steht man dann auf J KLopfts IJadl auf s Ilida Und arbeit brav drauf. Und kommt denn a KLrta, so schaut man zum Tanz, Der Jodel ftlhrt die Nannerl, die Gretel den Hans Da dreht sichs, denhs Weibl, da dreht sich der BaUs ISn nimmt sie beim Leibel und juchazt dazu."«.« 8'. TUst. lljxxvii. Finale. "VJastelg YJie^s DTummt jezt da oben im Himmel So brummts auch in Magen bei mir. (Irau von Tiefsinn, Herr von Tulippang Therese stehen ruckwSrts, die andern vorwSrts.) Alle; jj'ort, lasst uns geschwinde nach Hause, Eh' uns noch das '<7etter einholt Uirths (eilt herbei) Die iiosung, die Tafel, die Taufe, Hat alles der Teufel geholt. Alle.- Lasst uns eilen. Wirthj I tiro GnadenS Alle; Nicht mehr v/eilen. Wirthi Da geDliebenS * As in Text. 172

offered the Viennese .audience a mirier, in which they < might pepceiye-themselve^So: It upheld 'honest* 'Burgertum' and in doing sog. associated itself T?ith the pastoral qualities of Weisse's Singspiele^ aMs at the same timej the bourgeois caricature of Hafner,^

The langua ge of the songs offered a variety of styles:. Herr von Tulippan, a development of Hafner's Chevalier Chemisef declares his intention to offer to his goddess a hunch of flowers which he culled before aurora approachedf In ccntrast to this, the roguish landlord regales the audience ^ith the ingredients and dubious art of the 'Wiener. Kuche»f as i "" '^Wstner jhad previously donef whilst Wa^T and his wife Mesel[o5nt"lnually~8"how their"~n3?obust Tyrolean health 7 iThis variety oonttnues the " tradition of the popular theatre. The lack of magic having reduced drastically the occasions for scenic splendour to a minimum^ Schikaneder continued in the way of his dramatic productions for the German WanderbOime, and f ound in this middle-class opera a realistic expression for bis theatrical sense. As tSie party assembles at the Ptater for its meal, which is being courageously prepared by the landlord and his dishonest slri-wies, it begins,to rain. In one short scene? the finale to the second act, the thunder can be heard gradually growing louder, the Fiaker appear, people don headscarves and put up umbrellas? and the landlord, continues to lament that all his efforts have been brought to nothing*^ The ensuing helter-skelter is further enhanced by the fact that it is sung to music, thus revealing an attempt to blend the naive form of Singspiel with the realism of local colour? In this attempt is Schikaneder»s originality» Its effectiveness is recorded by Eipeldauero^

In keeping with this experiment, the characters provide intensive local colour beyond the usual caricature f ound 173(0) -t'

1. A'.nrs. p. ^^5.

2. cfpp. 51-53. 'Me bibgerliche Dame* . 3. rariandel is Tiefsinn's cook and Jodel is a baker's a. prentice. TlVst, Personen.

4. cf., pp. 55-5^. 5. T\7st . 11 ,X3QC. "Wastel; oTTTTzu Tulippan). da hast du tausend Gulden I bezahle deine Echulden, und lauf was du laufen kannst, aber das sag i dir in das Haus komm nimiaer, sonst schlag ich dirs Ereuz ein," cf., Komorzynski. op. cit, p. 513.

6. , ES. p. 312. '

7. ibid. pp. 315-317o 8* EDB. 1796. 28 Heft. 2 Brief, p. 16. "I7eil ich doch gar BO viel von der Tyroler- wastelopera hob reden ghort, die s'jetzt auf der yJledn auffiihrn, so hab ich doch auch sehn wolln, wie das Thier ausschautj,^ Aber Herr ¥etter, das ist ivieder v/irklich ein Stuck zum Kranklachenj und der Herr Vetter w&?d schwilfrn drauf, dass ein leibhafter kropfeter Tyrolerbaur aufn Theater steht; so nat&lich hat der Akt6'r sein Hals und sein ganze Pigur ausz' schoppen gr/usst." 9 o TVjst. Per s onen. ']Lin Harfenist. Ein Flautraverist. min. Ijusilcus mit Viol d'Amour'.

10. cf., p. 91. 11. TlVst. ll,vi, p. 61.

12. cf., p. 146o - 175

r in Haflier's works6 Herr von Tulippaa's position in the TiefSinn household reflects the class of the »Schnackerl-> Noblesseas Eommel designates it« ! In tills,. £!rau von , SiefSinn's crime is much the same as was Frau Redllchinn's In Hafner's 'Die byrgerliche Dame' .^ ^[^ipann is a roguish opportunist, and5 being in debt, is a leech for the rich man's ignorant wifoo Both Tulipann and Frau von Tiefsinn are of lowly station originally, and show it by their behaviour. iSoSlkaneaep "prodiibea comedy of mannersp as Hiftier had done1¥ef&re himo ~] Kor does the popular element retain the vagueness, which was its due in the Zauberoper, Jodel and Mariandel, as representatives of it, regain their footing by being apportioned to the servant- and trade-class, which formerly v/as embodied in Eannswurst and Colombineo^ Wastel, contrasting Jodel»s Viennese dialect with his own Tyrolean fortbrightness, receives individual and not rep^ resentative characterisation« He it is, who ultimate3y dismisses Tulipann most benevolent3yj in the Schikaneder tradition of reconciliation, by ten^ting him away with a gift of 1,000 Gulden.^ The music was composed by Mozart's brotber-ia-law, Jakob Haibel (1761-1826) f Its songs and duets were warmly received by the audience,^ of which Bipeldauer was a member® The most famous song of them alli 'Die Tyroler sand often so lustig, so froh..0' was'adapted as a political song in 1796, 17979 I8O9 and|l812 and vvas still knor?n as a Kinder- lied in the nineteenth century.^ ITithin the plot, three musicians, the harpist, flautist 323d violist d'amour,® recall two of Schikaneder»s earlier Sinsspiele; 'Die lyranten' by tias tripartite arrangeinent of the musicians,^ and the third Antonstuck, 'Die verdeckten Rachen', as the same song now appears" as was set to music by Mozart in 1789 'Ein Weib ist das herrlichste Ding auf dor VJelt''^*^ Herr von Tiefsinn reproves the nusicians, as they ore about 1. T.rt, lljVi. p. 51.

2. £Lo p. 317. cf., p. 173(a). 8, T.VSGHO p. 24.

5. cf., p. 173(a). Qo 4, TlVst. Fersonen. 5. ibid. llijXiv. "Frau von Tiefsinn; Arie : A.lles will ich l3rechen, beugen, i7as ich wtinsche, muss geschehn. Alle Manner mssen scM/eiGsn, Alle uns zu Dicnsten t.tehn. Unsere Reize, unsere Blicke Eerrschen iibor sie allein, Sch-tichtern bebt der Mann zurilcke, Uann v;ir Herr im Hause sein. (will ab)". 60 rJ. VI. 'Das Theater auf der wieden' cf ,, p. 138.

7. IDS. po 517.

8, HG£. V2. l,iv. p. 213ff.

ll,iiio Po 235-240. 9o TV/St. l,ix. p. 28. 10. ibid, Fersonen. 11. ibid. Ill,XXX.

12. cfpp. 33-54.

13. cf., pp. 82-100.

14. TWst, ll,iv. &cf., p. 6lff. 15. cf., pp. 42, 48, 50(a)ol2o, 54.

16o TWst, ll,iv & Vo p. 6lff. ZB. II. xxix. pp. 157-161.

17. ES.p p.272-3050 174

to sing the happy song to hini His feelings at the moment are not favourably disposed towards the fair sexo' Accordingly, in the same metre, and presumably a3so vd.th'. Ilozart's setting, they change their message tos 'Ihr ESanner, nehmt euch mit den VJcibern in acht'.* The existence of three musicians within a Viennese household is itself a reflection of the then 'Wiener Mode',

Schikaneder played the part of Wastel^ and was praised by Eipeldauer for his faithful reproduction of the Tyrolean dialect and for the effect of his comedyo' Frau von Tiefsinn was played by Madame Hofer* and it v/as perhaps,- partly as a result of this, that her character has an affinity with that of the Konlgin der Nacht.'^ Stegmayer, one of Schikaneder.Is composersf played the landlord/ The letter tradition of the Viennese Volksstuck,® ?/hich doubtless originated from the commedia dell'arte, is continued here, when Frau von Tiefsinn discovers the letter by taking a bite from her sandwichf The manifold use of couples, Wastel and LLesel, Herr und Frau von Tiefsinni Jodel and Mariandel, and Josef and Iaiise}° stems from the same tradition, which insists that Frau von Tiefsinn's haughty ways and absolute dominion over her husband must suffer correctiono*^ Potential tragedy tended to be fairly v/idespread in both the Uiener Volksstuck*^ and the Singspiel of the nanderbubnej' and, being rooted in the same tradition, 'Der Tyroler Wastel' is no exception. It is manifest in Herr von Tiefsinn's utter defection*'*.and, again in the tradition of the Viennese Vo&stuckJ^ his suicidal frame of mind,^* It needs the pragmatistic ebullience of Wastel to dissuade him, which he does via the lively therapy of a Tyrolean dance

Schikaneder's rate of productivity had reached its \ peak between the years 1789 and 1800." After taking 175(a)

14. A.I.iv. 15. iiJS. p. 324.

16. ibid. "Die Handlung hat eigentlich einen schSnen und fesselnden Grundgedanken," 175(a)

1. of,, p. 132, 2. First performed January 31st, 1801. Music by Seyfried and Stegmayer. iia. pp. 305,, 557." 3. First performed February 6th, 1802. JSSO p. 342. 4. ibid , po 342. Music by Teyber. 5o ibid, p, 341. Music by Fischer. First performed July 8th, I8O5. 6. ibid. p. 342. Music by J. V/eigl. i^irst performed August lObh, I8O5. 7. T.7. 'Verzeichnis aller Auffuhrungen am Theater an der I7ien'.

8. ^S, pp. 325-325.

9. cf., p. 101-119.

10. ES. p. 325. fn. 11. ibid. p. 93. 1'2, Of Schikaneder»s earlier Zauberoper 'Der Kifnigesohn aus Ithaka», first performed on 27th June, 1795» Komorzynski remarks that the pj-ot might well have been material for 'opera seria' and, moreover, that its development compares well with that of Grillparzer's 'Sappho'. ES. p. 293.

13, A. 6'N, l,i. "Das Theater ist ein unterirdischer, indianischer Tempelj in der luitte steht ein Opferthier auf einem Piedestal. Kopf, Erust und Hande gleichen einem Menschen, der untere Theil gleicht einem Drachenschweife; in der einen Hand halt das Opferthiere ein Schv/ert, und in der andern eine, Fackel, Seym Spruche des Qrakels wird d^e ganze Figur.'sammt Schwert und Fackel gluhend. E{ickv;aVts fuhrt eine^ lange steinerne Treppe herab, Rechts ist ein Bogen, welcher zum Grabraahle der KSnige f (Ihrt, und mit Urnen verziert ist5 links ist eiu eisernes Thor, welches in noch tief ere GewOlber fflhrt,.," cf,, ES. p. 325. 175

possession of the Theater, an .der iJien in 18Q1,^~ he produeed only six new work9o~~'~~^ These weres 'Alexander' (1801^ 'Eroteus. und Arabiens Sohne^^' a Zaubersihgspiel ' (1801), 'Tsching, Tsching, Tsching'f (1802), 'Efandung und Personalarrest», a.comic opera (1805) } 'Swetards Zaubertal»^' and 'Vestas Feuer'f tvro operas'produced in 1805, Of these, last works only 'Alexander' enjoyed a modicum of success7 It is dismissed rather briefly by Eomorzynski as reflecting a marked decline of Schikaneder »s talent Nevertheless it marks his infinite propensity for the presentation of the spectacular, 'Alexander' is essentially a combination of two elements; the tradition of Schikaneder's own productions of Ritterdrama on the Uanderbuhne ® and the music of Franz Teyberf The nearest Schikaneder had previously been to this was a heroic Singspiel entitled •Balders Tod'J^ which he performed on the Uanderbiihne, bub which owed much to its original in Danish" and 'Der

I&'nigssohn aus Ithaka' (1795)? As such the work has re=» alism, and does not reflect the local colour of Viennae The realisi^-is portrayed in the extreme detail, which Schikaneder's visual imagination lends to the battle scenes, the triumphal marches, and the opening scene in the Indian tenroleP The proscenium represented a tapestny, which was opened at Ilakuro's command in Act I so* iv^, : ^ ofii -,— ^i>at in this vvay the audience was |directly ''and consciously introduced to the theatrical world of 'Alexander'.^ As an attempt to \Tin heroic proportions for the Sings• piel, 'Alexander' is only partially successful, as the sangs remain on the v;hole in their. Singspiel. tradition, as far as their contents are concernedIndeed, only the overall content of the. plot would lend itself to opera seriaj^ the music, if it is still Singspiel, must remain light.^ simple

\ and attractive^ so that the tv;o elements of music ax^ libretto v/ould appear in 'Alexander' to be incompatible, 176(a)

in the text 'ein Hohr' (cfMonostatos,), and not initially 'Aufseher der Affen und Papageien' (J2. p. 324.) (A. Fersonen.) 6. ibid, rersonon.

7. 'Das Operatheater an der V/ien'. The majestic splendour of Schikaneder's theatre earned for it the title of 'Das Sunder an der Uien". BSuerlc vn?ote in his memoires, "HStten damals fcchikaneder und Zitterbarth die Idee gehabt, Eintrittsgelder bloss fui* des Beschauen der Herrlichkeiten anzunehmen, Schikaneder hStte durch drei Monate, ohne eine Theatervorstellung zu geben, gewiss enorme Summen eingenommen." ibid. 8. A, ll,xxii.

9o cf., ^C, p. 325.

10, A. l,ii. "Siasa; I7er sprach den Mfahmen Ki'niginn? I7er theilt den Schmerz mit thr? '.7er stillt der i\rmen Angstgeschrey? "wcr rettet ihren Sohn?" 11, ibid, l,xiv. 12, Makuro warns xUexander against looking at Kiasa, unveiled, l,xiv. l7S(a)

1. Ao l,3aii. "Alexanders Arie.. •- •• ' Nur der ist He 13 zu nenne, Der gross mid edel denkts Und nach vollbrachter Schlacht, Dem Feind sein Mitleid schenkt..." 2, ibid. l,iv. "Makuro; Die Macht des Feindes ist allgewaltig - die Uagschale zu ungleich; ein Mann...Des Weibes Pflicht gebiethet, ohne lautes Wimmern, sich der drohenden Gefahr zu ftlgen. - Da, wo Verzweiflung herrscht, zertrummert der edle Theil der NaturS., Nicht ein Blick von FurchtJ Bist du nicht tiakuros Gattin? I7enn wir Grosse zagen, so zittert das Volk, und der Feind hat gesiegt....StShle dein Herz, und denke, dass list und MSnnergeist oft schon die mUchtigsten Heere schlug..."

5o ibid, l,xvii. "Alle drey? Dass doch diese Kette nie Ein Unfall trennen mSge. Diess war der schonste Bruderbund Der schSnste Sieg auf ErdenS Koch heute fruh als Feinde, Verfolgten wir uns noch. Seht, GStterJ vaas als Freiinde, 0 segnet diesen Bund," 4. ibid. l,v. "Ridolli Doch meine Koni^inn will das nicht, Ihr Geist ist Gottern gleich; Selbst prufen ihre erste Pflicht In ihrem ganzen ReichJ Sie reicht dem Leidenden ihre Hand Ist Mutter ihrgm Vaterland, Ihr Herz ist gotfclich gross, Gerechtigkeit ihr Loos."

56 ibid. l,v, "Ridolli Mein kieiner "itz, und kurzes Leben sey dir und der K8niginn gewidmet; bendtzt es, so oft und viel ihr kiinnt, es ist euerj" This rather deepens the popular conception of Rid oil, in which Komor?ynski would hnve us believe. ES, p, 324, In fact hsis designated 176

Certainlyj in the noble expression of Alexander^ and IJakuroJ in the almost masonic binding of Eephestion, the Crown B?inc.e and Alexander J in Eiasa.'s deep sense of her duty as Queen of the Indians f •. even in the popular figure Eidoll's unfailing loyalty to Makurof his master, heroic proportions are momentarily attained!

Visually .Schikaneder strove for the same heroic ideal in his deployment of the three chorusess 'Griechische Heeresfuhrer und Soldateh', 'Indianische Heeresfuhrer und Soldaten' and ?Indianische Jager und liladchen, Hofdamen, Edelknabenj Volfc^, '^ As the opening shov/-piGceS)r the Theater an der Wien on June 13th, 1801, 'Alexander' had to transfix the audience with the same wonderment, which they had experienced on first witnessing the interior decoration of the new building? But apart from the vastness of the enterprise, the motions of a busy chorus are brilliantly conceived, as, for instance,'the Indian people rush about the stage, singing, and searching for Alexander and Kiasao^ The chorus is becaming more malleable in the haMs of an experieiced producer, Now it actively participates in the plot, which it never did effectively in the earlier Singspiel, and it precipitates the musical action and the realism of it o The potential power of the chorus has, 'at last, been unleashed. It has a mobility which was lacking in the static priesthood of 'Die Zauberflote', as its energy v/ins for it a necessary, dramatic and aesthetic function/

love again finds the solution to the dramatic problemo The elements of tragic possibility, straightway introdizced by Kiasa's desperate plight in the first scene and her noble awareness of itf are further Eiaintcin.Gd v.'ben ISakuro presents Alexaicder with ICLesa's portrait" This is skilfully executed to ensure that Alexander, the barbarian, vdll look at it ?" Ironically, his own portrait later betrays his ^ 177(a)

1. A, ll,iii.

2. cf., pp. 4^(a).3., 67(a),10., v ZB, I,iv. iiOo 3. Arie. p, 30ff, SL. IVjXviii. p, 12Qff.

5. A, 11,xsvi. "Chor; ii's erschallc durch die ganze IVelt, Unser JubelJ unsre Freudel

1 177

identity to Kiasab*" The use of the portrait alone betrays the heroic opera's indebtedness to the popular theatre.^ ^ Th6 sense ot tragedy: is finally^ dispersed as the triumphal

march in the last, scene, precludes all else in the happy light of yet another scene of reconciliation^ Despite its ambitions the opera remains boimd by its popular , •.• tradition.

• / 178

SCHIKAMDER AS A DRAMATIST

OF THE YISMESE STAGE

i 179(a)

Ip RL. 6'lTo Ts. 2p Komorzynsld includes the work under the heading 'LokalstUck'. It was. first performed on April 24th 1792 and was printed in the same year. Later it v/as produced again .Tith Scholz as Frisch, and Hosenhuth as 'der dumme liebhaber' in I8I5. The joiArnal 'Der r.animler'. (Hr. 105) praised it, the «Theaterzeitung' (lirr.78) criticized it.

EG, p, 309.

3, 3L. ll,vii, pp, 58-40. 4, ibid, llljjn/'iii. p, 86. LV.vii. p. 99.

5, cf., ;^Po3o^ ~^

6, cf., pp. 33-54.

7, cf,, pp, 53-58. 8, Kornet, Berger, Hannsel. 179

Three years after his arrival in Vienna there appeared in print Schikaneder's .'Der redliche landraann*} a Familiengemaldej whose main cliaracter, lorenzo S^isch, reveals an undoubted relationship with the paler figure of Anton's father, Redlich, and the more robust IVastel of 1796? The beginning of the play passes as a light- hearted comedy, closely associated with its tricks to the Viennese popular theatre. Letters are mislaid and delivered to the v/rong persons, who then [have th^letter^'in queet^lbn~t read to them and comment on the insultsjlnnt^~as ~^ it is being readf Characters remain in concealment on stage J" providing the naive comedy of situation, v;hich predominated in 'Pickelhering in ider Kiste* in 1620,^ and which commonly recurred in the Wiener Volksstuckf The closest link of all is that Lorenzo fulfils the same function as did Odoardo/ and defends his daughter before the advances of three suitors®

The pastoral calm of the early part of the play re• calls in its simplicity the atmosphere of the Singspiel of the Wanderb^ibne, and yet is neither so naively, nor so awkwardly conceived. Gradiaally the whole atmosphere becomes pregnant with expectation as the tv/o lovers are separated. Some dramatic scenes ensue, in which charac• ters are cleverly compared and contrasted by their re• actions to the stimulus of another person's words;

" Berber Und dieses Gluck? Kbrnet Ist eine Offi2iers=Stelle. 180

Berges? Bey welchem Regimente? Kbrnet Bey einem Freykorps. - Der Chef davon ist mein guter Freundj sein Quartier i^t 2 Sttmden von hier in dem kleinen Stadtcheno Bepger Bey, einem F3?eyl5:orps? Eornet Sie treten als lieutenant ein, und binnen 2 Monaten sind Sie Hauptmann. Berger So gescbwind? Wie lange sind Sie schon Offizier? Kbrnet 4 JahreS Berger Und sind? Kbrnet Kbrneti Berger Aber mich vnindert sehr, dass Sie Herr Kbmet, nicht statt meiner diesen Weg von Huhm und Ehre betretten? Kbrnet Ich bin schon QffizierS Berger Aber in 2 Monaten Hauptmann zu uerden, Kornet Ich kSnnte schon tla^or seyn, v/enn;mein Qnkel der Obrist mich nicht zuruckhielt. - Aber freuen wtlrde es mich, der Grundstein Ihres Gltlckes zu seyn. IGl(a)

1. 3L. V,vi. p, 132. 2. of. 5 OLP. p. 27o »Das 4. Capitels Jilin gevjisser Kriocs-Qfficier rathet dem I^ichsmundi --^ er aolle sich zu einem Hauptnann im Krieg machen lassen so wurde er die Jiangfrau Q?eresel geuiss 2U2' 7.he bekonmen*.

3. cf.,^ pp. 103-119. ^, RL. Vjxx. p, 148,

1 181

Herr Kbmet, ich danke Ihnen fur Ihre herzliche Theilnahme, ich kann aber Ihr ilnerbieten auf keine Art benuzon; =• erstens habe ich die.nSthigen Kenntisse nichtj was man eigentlich von einem Officier fordert.

Sarnet Das lerht sich. Berger Dann bj,n 'ich auch ein zu furchts^mmer Barenhauter - ich glaub, ich bekame die IR>lik, wenns zu einer Bataille kSme. liomet Das war auf mich geminzt, oder Harter hat mich verratheno"^ Scenes similar to tho above, which recalls ono of Stran- itzky'^s military sketches in *011apatrida',^ and which doubtless ov/es its authenticity to Schiltanedor's frequent acquaintance on the IVanderbuhne with military spectacle and his ov7n *Sitterdrana* ? alternate with more festive ones of the party at Lorenzo's house, until these too take on a sombre aspects

" Lorenz Ans 2a.el? Wir sind schon am Ziel. Ihnen haben sie die Regiment^kassa bestohlen, und mir haben sie mcinen kunftigen Schwiegersohn geraubtl ^ Ja, da? - Herr Obrist, - ich hab es schon gesagt - ich nehm' mein Hort nicht mehr zuriick. - uStten sie sich nichts zu fiirchten gehabt, so wSren,,sie beim Tag in mein Haus komjaen, und hatten mir wenigstens suvor ein paar ^I'orte gesagt, aber so mir nichts dir nichts fort mit ihm, eh er sich hat beurlauben k6nnen von cir und meinor Tochter - das ist ein wenig zu viel - zu viel."* The play le not 'LokalstUck' and therefore does not attenipt>v to give a realistic portrayal of a particular localityp b ut it does contain realism in a more general senseei lG2(a)

1. 3L. lljviio po ^14.

2. ibid. V jvi. p. 132ff.

3. ibid 0 1,111.

4. ibid. lljVii. p. 38.

5. ibid, Vjxxvii o Po 159-

6e ibid. llljii, p . 62.

7. ibid o IVjXviiio p. 120,

8o cf. J pp. 53-54, 82-85.

9o RL, V.

10, cf . 3 pp. 85-87„ 132

realism, From Hie text the audience is always conscious of the surrounding countryside j and certain characters esre unmistakably of that environ* ^Hafne^ ^ r gave hi s plays. local Viennese COIOUTC Schlkanederp in this instanoep prbviaes, [rearism ana aoes^^;such items as Lorenz's references.to his own. wine J I^ornet'c viciousnessf the description of the cow upsetting the lovers in the byre, after being milked? Hansel and other farm-workers, references to the village* and the civil judge,^ the picture of the common, but indispensable, daily work,of the kitchen^ and the necessity of tapping the wine-casksI A permanent feature of the Wiener Volksstuck was that it reflected the eccentricities, or weaknesses of character, reproved them accordingly and then corrected them, initially by making the person in question arzare of the error of his ways, and finally by either reconciling him viith the happy end, or having him suffer some slight punishment for his indiscretions f All of this Schikaneder inherited from the popular theatre, but in 'Der redliche Landmann' he extends the practice to include Katchen, the heroine, Berger, the hero, Kprnet, a dangerous rival, and Lorenzo, the heroine's father.® From the flippant and apparently heartless flirt, possible a derivative of rjeisse's lottchen,^ KaUchen grows into a character v/ith depth and human understanding. Such maturity ic caused by the realisation that she is in love v/ith Berger; n KUtchen Meine Base hat mir gesagt: So lang du mit den Mannbildern noch scherzen, lachen, hiipfen, und plaudern kannst, so lang bist ,du nicht verliebt? aber wenn du einen sehen v/irst, der dir gefallt, dass du ihm recht viel auf einmal sagen mSchtest, und doch nichts an Markt bringst, nachher 185Ca)

1. KL. lV,vii. p. 99« 2, ioid. VjViii. p. 38. ^ po ioid. IVjVii. p. 99ff. 4, ibido l,ii, p. 8, 5o ibid. Ijii, Kstchen believes that it is her father, viio has surprised her with Kornet, and reacts accordingly! "Kj?tchens (holt Athera) Den ELmm'el sey Dank! Ich hab die Rut he schon ordentlich pfeifen hWren (ab)", 6. ibid. IVjXviii. p. 120ff. 7fl ibid. • V,xx. p, 148. 8o ibid. Vjxxix. p« 160.

9« cfpp. 33-546 183

glaub du mir, dass du rocht verliebt bist. - Und echau er, dust so ist mir detzt bey ihm."i Berger does not undergo a true development of character, but his various situations and reactions to them, disclose it gradually. For a while he remains almost a stranger, who is suspected of being something of a pliilosopher and has deep convictions. As Kornet grows more dealous and enmeshes Berger in intrigue, the latter suddenly shows the deep internal fury, of '.vliich he had hitherto only been sus• pected, and takes up the sword to fight IComet according to his beli-efs.^ Eornet too is, at first, the callous and irresponsible lover, as is Katchen, until a rival appears on the scene.' He laughs at Harter, who considers that he . has a rival in Hannsel* but cannot later laugh at his own similar predicament.'' Then he resorts to intrigue and violence in an atteE?)t to gain his om ends, and is thus ultimately depicted as an unscrupulous rogue. Lorenz in the early part of the play remains true to his origins as a paternal tyrant.^ However, after he has realised that his daughter has made her choice, his personality becomes radiant and no man can outdo liis happiness as a proud fatherf The threat that his daughter's happiness might be ruined, almost turns him insane J The final revelation that Eerger is the son of an old friend of Lorenzis fortunately delayed long enough for it to be established first, that his daughter's future happiness means more to him, than financial prospects.^

In the field of drama Schikaneder played a not incon• siderable role in the last five or six years of tiie eight• eenth century. Apart from his musical projects at this time Schikaneder revived the earlier Lokalstiick of Hafner and developed it with success. The follox7ing works for the stage were apparently strongly imbued with local colouri l&4(a)

3. laiiotspiel in 1 Act. First performance August 23i?d, 1792. Llanuscript to be found in the VJiener Stadtbibliotliek, as again the work was not p3ri.nted. In the play Komorzynski related Schikaneder's cobbler to that of .Veisse in his »Der lustige Schuster', In greater detail the same authority depicts the tradition of the Sv/abian cobbler in the 'V/iener Volkotheater'.

ES. pp. 310,511, Schiksneder was commended for this work, WTZ. 1806, 19th August.

4, "Die Handlung ist schablonenhaft: Herr von Springer wird von seiner Stau schrecklich gequalt; er musis einkaufen, kochen und bei Tisch servieren, sie aber spielt die grosse Dame und verpfSndet, um Geld zu schoffen, ihre Habseligkeiten. Bei ihr lebt die Tochter ihres Epuders, der in jungen Jahren - ein Taugenichts - in die weite V7elt zog, ohne heimzukehren; ausserdem ihre Schvjêr, die mit einem Jj'leischhauer in Odenburg verheiratet ist und ohne dessen iVissen in I'/ien die Vornehme spielt. Da kommt der Bruder als Millionar aus Ostindien auriick, gibt sich aber nicht zu erkennen, sein Freund Toms verliebt sich in die Nichte, die unter den Schikanen ihrer. Tante viel zu leiden hat., Eben rîstet man sich zu einer Schlittenpartie, da kommt eine Schreckensnachricht: der Fleischhauer ist da. liiT lasst sich auf IJêinerlei Art "Kberlisten und verdammt erzurnt die grosstuei»ischen Y/eiber, Endlich erfolgt die iSrkennung des Ziariickgekehrten durch ein Potrat, man versShnt sich und die Itauen geloben, nimmer uber ihr en Stand hinaus zu wollen, - Wieder sind es die typischen Figuren; das uneinige Ehepaar, der ehrliche, auf sein Handwerk stolze Biedermann, das sentimentale liebespaar, der zuruckgekebrte Verwandte,"

ES. p. 312, She manuscript in the 'aener Stadtbibliothek is not reliable, believes Eomorzynski. ibid. 5o ibid, p, 309. Schikaneder was commended for this work. WTZ, 1806, 19th August.

60 cf., p. 49. TWstR. p. 24.

7o WV. p. 31, 184(a)

1. 5 Act lustapiel. First performance November 30th, 1792. The plot is recorded as follows! "Der Held war ein Fiaker namens Rossschweif, grad und ehrlich nach Art des Postmeisters und des redlichen Landmanns, eine Paraderolle fUr Schikaneder. Desse^ Frau (von itsiu Schikaneder gespielt) ist hochmutig und v±ll uber ihren Stand hinaus. Das liebespaar waren die Fiakerstochter liesel und ein Beamter namens Grund. Eomische Figuren i7aren die IQiechte Rossschweif s, ein Tanameister, ein Gessnglehrer und ein Theater- direktor. Der IVienerische Ton ist gewahrt bis in SLnzelheiten v/ie episodische Auftritte eines .Vriseurs und zweier 'ILaternbuben". Ebenso erfolgreich war der "2Siveyte Teil". der "Fiaker"*" ES. pp. 309-510. • Schikaneder v/as. commended for this v;ork. WTZ. 1806. 19th Augijst. J "Als ein Vorbild fiir Localdichter stehen aber auch ^etzt noch immer seine "Fiaker in IVien" und seine "burgerlichen Bruder" da; das sind wirkliche Gera^'lde aus dem Wiener Leben, wirldiche Charakterstroke aus dem Volke". Mo VI. 'Das Theater aiaf der IVieden.' 2. Qpiginal-Iustspiel. First performed November 26th, 1793. The work ivas not printed j but the manuscript is to be found in the Wiener Stadtbibliothek. The plot is as follovyss "Hier spielt die Frau des Fiakers aIs "Baronesse von Rossschweif" in Baden die vomehme Dame und iJisst sich von einem Schmarotzer, der sich fUr einen Lord ausgibt, betrfigen* Der biedere Rossschweif uberrascht seine Gattin in Baden und erst nach vielen Szenen des Sturms und der Verzweiflung kommt es zur VersShnung. Der "Lord" aber wird durch den obligaten fluchenden Oberst als Dieb entlarvt. Die Dienerschaft tut sich machbig hervor und die Sxpositionsszene in der Gesindestube zwischen dem Koch:,, dem Pagen, dem J'Ager, dem Kutscher.,. de^ Stubenmadchen und den Bedienten zeigt schon vollig den^^Ansatz zu den ' standigen Bedientenszenen des spateren Wiener Lokalstficks bis zu Raimund und Westroy. Auch der Piakcr (der schon bei Hafner einmal als Lohnkutscher" vorkommt) ist durch Schikaneder zur stSndigen Figur bis zu BSuerles "Fiaker als Marquis" (1823) geworden." ES. p. 310. 184

'Die Fiaker in Ulen'J parts, one and two , 'Die Fiaker in Bad en 'Das abgebrannte Eaus',' 'Der Fleischhauer von fidenburg'* and 'Die Ualdmannor* The idea of putting the Viennese cab-drivers on stage originated from Hafner,^ and Schikaneder sav; in it a considerable appeal for the citizens of Vienna. Having deliberately larded his prograiaiiie with spice for their 'Lachlust' and 'Schaulust', he emphasized even more the earlier' practice of including things of topical interest in his plots by allowing the Viennese to

t see themselves in the world, of the theatre*•> That Schikaneder^fwell unaerotooa what iTl!ras~that~aCTjea3s^jfco ^ ^r: is supported by several authorities, of TiSiich'^-cne'^fMlowiE^^^ is perhaps the most aptt "In T,7ien gab es heiteren Scherz, leichten Eumor, wohlwollende Gfite, herzliche ELlfsbereitschaft, aber keinen boissonden I7itz, keine geistreiche Ironie, keine " verwundende Satire, Ss waren alio Elemente vorhanden, deren ein fiir Alio fassliches, Allen gefalleades liiistspiel bedarf, und diese Eiemente wur^^en trefflich ausgenutzt. Dabei war dio gemuthlichc landlictikeit der ^/iener leicht befricdigt. I'ian. verlang-te nicht nach fein gesponnenen Intriguen, f ester ^Hundung der iiirfindungGn Oder exacter Ausfuhrung des S'jjoffes, der in dramatise hem Sahmen vorgefuhrt \r/urde; es genfJgte, wcna eine Seihs von Eccnon aus dem ^Jioier Leben dargeboten, oder nenn Bilder der weiten "*elt mit dem ^dener Leben in Verbindung oder in Gcgensatz gebr^cht wurden, falls sie nur den Satz bostatigen mochten, dass, vmnn. es in der r/elt auch noch so bunt und lebendig, noch so schfln und genussreich sei, es in Wien doch noch hunter und lebendiger, noch schSner und gonussreichor zugeho, und nirgends besser sei , als zu Hause; hier .A aber nie so sohlimm, wie da draussen im Reich Oder woiter hinaus,"7 In the lokalsttbk 'Fiaker in vd^' Schikaneder is praised for his acting in the part of Rossschweif, the cab-driver, which called for a thorough assimilation of 135(a)

6. r.s. pp. 68-70.

cfo, pp. 110-113.

7o ES. pp. 312-319. 80 TV/stS, p. 24. ' 9o Tirst, l,iii, lOo cf., pp. 46-^t8. 11, T':Jst. l,ii. "Den Gedsnken hab icb. schon als liadel von zehn • Jaliren gehabt. Uenn ich einmal heyrathe, dachte ich mir, so muss mein Mann nicht nur wild, Eondern auch recht di-mm sein... Arie Doch f ehlt dem liann ein schBn Gesicht Hat er kein Eirn im Kopfe nicht, ; o fischt das "eibchen urn und um Und flilirt ihn an der Nase h'rum, Sie fiihrt boi Zeit das Hausrecht ein :3i?ingt schSne I^lanner ins Haus hinein." 185(a)

1. Tl-'stR. p. 24. 2. cf., pp. 125, 126. 3. ra.Vl. 'Das Theater auf der '"'ieden', "Schikaneder als Schauspieler betrachtet, war nur in localstttcken ein Characterdarsteller, und hierin gewann das Gemttth fast imner die Oberhand uber die Komik. Den ilaker in seinen "Fiakern in Uien" spielte er so wahr, so ganz aus dem Leben gegriffen, dass ich diese Rolle eine Meisterrolle nennen kann. Die Scene, in i^jelcher er leichen- bloss aus dem Cabinete sturzt,weil er sein narrisches V/eib, da nichts mehr fruchtet, endlich vrider scjjien VJillen und gegen sein Herz schlagen muss, wSre eines Iffland vmrdi^ gewesen. Als Komiker habe ich nie herzlich uber ihn lachen k8nnen. •3r schrieb sich seine meisten Rollen selbst, und schuf sich gewohnlich eine Art Na-tiipmenschen, wie Papageno in der "ZauberflSte"; er wollte fur einen feinen Koraiker gelten, und dadurch wurde seine Komik so superfein, dass man vjenig davon merkte. Indessen v/eiss ich doch eine komiGche Rollo von ihm, die er eigenthilmlich und echt koraisch darstellte ,und diese war der DorfSchuster in seiner Posse, "Das abgebrannte Haus". (cf., p. 126(a).3.) Da er, vile gesagt, sich seine Rollen meist selbst schrieb, so l^te er in dede deselben eine Art Sonderbarkeit, wodurch sie oline komisches Zuthun gefiel. So zimi Beispiel machte das Federgewand Papagenos mehr AufsGhen 3Is das was er sprach. So wirkten in dom StiHcke "Lumpen und^^Fetzen" die absurd en EigenhGiten eines Englanders, den er darstellte, das Eeiste." ibid . "Herr Brenner war ein untergeordneter Schauspieler, aber gemeine Naturen stellte er mit seltener Wahrheit dar. Sehr komisch war seine Sprache, er stiesE mit der Zunge an, dsbei sprach er sehr schneli und ilbersttlrzte sich in VJorten. In den "Fiakern in \j'ien" spielte er einen Fiakerknecht, der sich gegen einen angeschuldigten Diebstahl vertheidigt, mit so ausserordentlicher Wahrheit, dass er diese Scene dedesmal wicderholen musste."

4. ES. p, 310. cf p. 49o

5. ES. po 69. cf., pp. 107-110. 185

the Viennese dialect,^ as the part of Wastel did of the Tyrolean.'^ Castelli ex-fcends such praise to include Schikaneder' s part of the villago-cobbler in 'Das abge• brannte Haus', but not without some quaLlfication of his eulogy.^ Although the figure of the 'Fiaker' was first placed on the Viennese stage by Hafner,^ he is at the same time a natural development from Schikaneder's normally secondary, but very colourful characters of the Handerbiibne, such as the landlord in 'Die Saubvogel'^ and Fleckkugel in 'Das Laster kSmmt an Tage'f

The Lokalstuck was not originally ccaiceived with music, apart from an occasional 'Arie', but in 'Der Tyroler Wastel'"^ Schikaneder combines successfully the form of the Singspiel with the 'Lokalkolorit', which Ecofessor Rommel praises.® This time Schikaneder's talent for producing local interest is again manifest in his minor characters, Jodel, a servant, has a particularly delightful scene vdth EJariane, a maid, in which he remains within the popular tradition Of Hanns'.'Turst, and yet stam.ps his ovm individuality on that wadition. His comedy is inherited bub he has a certain sense of poetry,which is his own. He adamantly refuses to accept a tip.® Mariano conforms to contemporary Viennese society, which upholds conventions very similar to those of the fashionable ladies in Hafner's 'Dramatische Unter- haltungen'i'when she sings that she proposes to marry a weak man, who ?/ill, because of his weakness, allow her meni^ Compared with this, the obviously sincere love of Louise for Joseph, the baker, appears almost insipid, though sublime.

The landlord and his companions pro^-ide intensive local colour. Their business is situated in the public park, the 'Prater', and sells meals in the open air. They

\ show a roguish delight in misleading the customer, and the delicacies of the 'Wiener Kflche' are catalogued as they 186(a)

1„ cfo, p. 49(a)o 60 IComoriiSi^iiski desc. ibes in g];^eater detail the tradition of tho 'Wiener Kuche' in the Volkstlieater. iib. po 318. 2, mycRo ll,vi. 5o ibid. IljVii. 4o ibid. ll,iii, & iv. 18S

7/ere in Hafner:^

Schaffen Sie was Gut's, Ihr Gnaden, Bin so frei, Sie einzuladeng Schneckelsuppen, ErSutelsuppen, Abgegossene Khochensuppien, Schwarze Suppen, v/eisse Suppen, Binbrennsuppen, Einmachsuppen, Rindfleisch, Bohnen, K§lberf{fsse Und ein gutes Frikassee^j Kaiserf leisch mit Zugemuse Und Fasteten mit Haschee? linsen, Arbes', dunste Bohnen, Brockeln, Selch und abgetriebene nockeln, Fasanen und Kapaunerl Oder Strudel in a Reindel, Bachne HShneln, Karmenadl, Schaffen S» etwa Schweines Ecatel, A Polalcel rait Salat? Schaffen S» Bipauner, Bisemberger, Grimziger und Buttenberger, ^ Schaffen S» Qfner und Tokayer Oder Ausbruch und Maleyer, SchaffenS' Brot und I^ndltorcen, Hollerhfliochen, linzertorten, KLpfeln, aviebach und Scheeler, Funsch und Abees und Kbffee? (Itot ab.) "2- As an honest and outspoken Tyrolean peasant, albeit a rich one, Wastel criticises city life in violent, but humorous terms; " ^j.e Eei uns in Tirol und im Landel 1 Ist die rJeibertreu* off en nit rar, Dem Bubsn gibt's Dientel ihr Handel Und hUlt ihr Versprechen aufs fiaar, Die VJeiber sind a nit so g'naschi, Sie bleiben getreu ihrem EUann, Sie machen kan Vdschi, kan Waschi ^ Und schaun kan andern mehr an " Wastel it is, who assists .Herr von Tiefsinn to view life in its proper perspective, dissuading him thus from commit- tii^ suicideHe insists that the woman of the house lC7(a)

P. • ?.Md. lll,iv,Vo & vi.

3, SDB. 1796, 51 Heft, 1 Brief« po 4ff, 'Der Tyroler .astel' was received isith such approba'Jion, that part 2 v/as not long in following. Stilly no doubt, recalling the success oi" part lo, the Viennese audience had filled the theatre by five o "clocks .iJipeldauer describes the plot soaiei.'hat sketchily, in vjhich v/aotel has returned home from Vienna and relates what he has seen of the big city to his Tyrolean friendSo The tradition of 'Versohnunji'' manifests itself again9 as the goose-thief is ultimately forgiven v;ith a bomteous gift of 500 Fl. 'Foreign' and 'vjorldly* gentlemen praised "'s rare Stuck" and "d'sch6'ne LIusik",

DS, Po 5^35.

5o ibid, p. 5^^5.

6o ibid. pp. 3^3-5^5o 'Direktion in l^rfinn".'

7o ibid. p. 3^.

8„ ibid. pp. 341-35>3.

9o Ts. lOo ES. p. 3^. llo SHB, tp.

12. cfpp. 113-119.

15. AimC. pp, M-^?, ^89. CLP, Capitelp 3o p. 20.

Vi-o KG. »Die Verwandelten Weiber oder Der Teufel ist los» "Der Lustige Schuster oder Der' Zweyte Theil vom Teufel ist los.' 18-7

must keep tier servile position by her busband^s aide, and should not lead him about lay the nose.^ ?This~play~db8s rot' /take the trmibie~ to satl¥lse^ 'but3Mtea^ a~aarliig~^" ana~^utapoken oiTUieAW^f^aemeae's^^ Wastel's happy Tyrolean optimism and faith disperse the melancholy clouds of Tiefsinn's quandary. His practical sense recalls the ^similar quality in Hannswurst, bub his boisterous, and healthy 'Weltanschauung', his human and sympathetic under• standing,, give him an individuality, v;hich is Schikaneder^s ov/n creation/

In 1807, tov/ards the end of his life, Schikaneder assumed management of the Stadttheater in ^xssm.t During his stay in Erunn, V7hich. lasted until Easter 1809f Schf-kaneder produced and vjrote plays, which continued to reflect his customary theatrical policy of combining the elements of popular appeal with his ov/n aesthetic sense »^ Despite allegations that the standard of Sehikaneder's ?/ork was noi7 pitiful J and similar evidence of this in the contes^jorary »Der Freimutige * ,^ his 'Schembora, ilerr von Boskov/itz» (1808)f contains qualities, which carry it beyond the 'farbenprslchtige Tableaiis»*° and the finale of 'ein grosses Feuerwerk' of which it stands accused.

The play is »ein allegorisches Schauspiel in vier Aufzugen furs ireye bearbeitet von Limanuol £chikaneder» I* It was intended for psrforiaance »im neu erbauten Amphi• theater auf der Konigswiess bey Iumrov;itz aucser Brunn'.^* As allegoric drama, 'Schembera' is related to the Huhrstuck and ilLtterstuck of the '.Vanderbiihnel^ The in• clusion of a devil would indicate an as|.ociation with the Baroque stage of f-tranitzky"' as well as nith the devils which are mentioned in '.Teisse.**" Thematicolly it reflects the influence of the Don Jusa and Dolrtor ITaustus tradition of the Viennese popular theatre, which stemmed from 188(a)

1. AITVK. po 211. 'L'jioen und toot Doctor Faustus',

2. ibid. p. 211ff, 234.

3. ' ibid. p. 2li;o

4. ibid, ppo 211-212. 5c r.tophanie der Jungere's «I3acbet.i oder Das aeue steinornde GastEialil' failed, ibid, po 212.

6. cf., Po '!|-9ff«

7. SHB, l,iii. p. 9. 8. cf., pp. 33-5^.

9. cf,, pp. 114-1161 lOo SHB. l,v. p, 14,

11, DJ. IjVii. p. 51ff.

12. SH3. 11,i, "Jakobs STcIfS' mehr frommt ihm mein i^egen, nicht mehr vordien' ich lieb; die Gattin naiss mich hassenj mir iluchon v/ird nein land." Despite this ar/areness of his rrrong, Jalrab's i7ife and child still love him faithfully, ll,ii, "laidmillas Uer kann, wer konnte doch zum Selbstmord fulfiren, wenn ich dir an der Seite bin? Kein Damon auf der ITelt, ja selbst der H^lle Fupien nicht, wesnn mein Geschrey den Himmel weckt, Komm Jakob, holder Gatte! wlrft dich an meine Brust,.,,"

13o ibid, llljvio 188

Stranitzky's ov/n 'Doktor Faustus'^ and 'Das steinerne Gastmahl'^ and was continued by Marinelli in 'Dom Juan Oder! Der steinernde Gast'.^ The latter was popular in Vienna from 1783? the year of its creation, until 1821 f Mozart's librettist was subject to the same influence.^ An even more closely related theme is provided by the degradation of Hafner's Burlin in 'ifltwas zum Lachen in Fasching,^

Jakob's companion Hassan is the Mephisto of the play, having paid Jakob 2,000 tons of gold for the purchase of his soul 7 Schikaneder situates the action of the play at that dramatic moment, when his time of freedom is al• most over 7 No longer do the characters remain within the influential sphere of Zauberoper, where the hero guided and chastised the popular comediano^ Rather are the positions reversed, and in keeping with the Faustian tradition, the devil continually seduces the hero from the path of virtues Despite his moments of warm humanity and true penitence Jakob is not to be saved, Schikaneder's happy habit of a reconciliatory ending has almost entirely disappeared, probably as a sacrifice to the desired 'tear- harvest '.®

Hassan promises to procure for Jakob a bride at a v/edding feasta scene which had its parallel in IHozart's •Don Giovanni' .'^^ Jakob appears to have little awareness of the responsibilities of marriage, although throughout the play he is deeply moved by his family's sacrifices for him.^ As a small measure of moral optimism Jakob manages ultimately to free himself from the devil, and, in so doing, reveals that, in spite of his evil crimes, his conscience is still active*^ But tragically, he is poisoned by Hassan, and dies,^ This is a very satisfactory solution, from a moral point of view, as Jakob thus absolves his crimes against man, and at the same time 189(a)

SHB. llljvi.

ibid, III,vi, "(Die Felsen brennen gleich einem Vesuv, und der Pallast st{irzt ein)", cf ,0 ZB, l',v. p. 32. 189

manages to 'save his soul:

X " Gesang Die beyden Fllger und Erasmus;

"Kazmst du vor Gott bestehen. Lass alles untergehen; Dort oben ist dein Reich, Dort sind m.T alle gleich^ Gott segne Jakob dich,"^

, This is folloived by the symbolic burning, or piirging of ^\ the pa lace 9 after the stones have already begun to crack.^'

Schikaneder continues to pursue his usual policy of endovdng his characters with an intensity of life, v/hich reveals their belief in themselves. Numerous tricks are used over and above the characters to further induce the audience to believe in them. In this instance, the speed ^ of the action, moving exposition, and the realistic detail of the stage-setting, realise SchLkaneder's aims:

"(Waldige Gegend, in der Feme ein Hauschen mit Stroh bede^ckt) (£!Ian hort von alien Seiten Jagdh&rner, Hundegebell, Jager und Bauern sieht man zwischen den BSumen 1aufen; im Hintergrunde sprengt Jakob zu Pferde^ deren Hunden nachj ihm ' folgen viele Jfiger ebenfalls beritten: i

Erasmus Du macht'ger Herr von Schembras Feste, VeOT/eile noch und hfir mich an Willst du der scheirarzen Holl entgehen. So weich zuriick in deine Burgo

Jakob Zuruck. (stosst ihn zuruck und sprengt ab.) l90Ca) lo SHii,

2.. of., pp. 114-11G.

3. Sil3. ll,,i.

-A 190

Erasmus Da zieht er hin, der arme Herrj Betaubt, und ohne Sinnen Wahht nicht dass heut sein letzter Tag erschien, Und Ew'ge Nacht ihn deckt. . (kniet nieder) Du grosser Gott im HimmelJ Erbarme seiner dich; Ach Schick ihm eihen Jugendfreund, Der ihn zum V^eg der Tugend fuhrt, Erbarme seiner dichl " i

Admittedly the play's sentimental appeal is on occasion too sweetly portrayed, but this is onili^ in an attempt to captivate the audience. The following scene recalls Schikaneder's earlier reference to the 'Thranen ernte'^for vAiich he worked on the Wanderbubne, and it is almost impossible to believe that a Viennese audience would not be susceptible to it:

laadmilla Wer kann, v;er kflnhte dich zum Selbstmord f{ihren. wenn ich dir an der Seite bin?. Kein Damon auf der Welt, ja selbst der Holle Furien nicht, wenn mein Geschrey den Himmel weckt. Kbmm Jakob, holder GatteS vdrf dich an meine BrustS (fasst das Kind auf) tfimnL bin den Segenszweig, der unsre liebe grundet, so wollen wir Arm in Arm in die Eapelle eilen, und dort des Schopfers Huld und Gnad erflehn.

Jakob (mit dem Kind am Arm) Willst du mein Scbutzgeist seyn, wenn Ich in Todesnoth dir an der Seite bin?

MaTiritz Ja, guter VaterS JaS ludmilla is wholly given to -Hie salvation of her' husband, as is Erasmus, Hassan, on the other hand, is wholly given to the task of ensnaring Jakob's soul, Jakob, 191(a)

1, TFB, l,iii. 2* of., pp. 187, 188«

3. CHB. lll,vii 191 however, differs from the imajority of traditional heroe^: oQhe popular stage in that his one aim is neitlasr the consumma• tion of happy love, nor the pursiait of virtue,^ At last Schikaneder has attempted to portray a man, within whom the opposing forces of good and evil are struggling for dominion, but a man, nevertheless, whose gradual story of degradation is rooted in the tradition of the »Alt-lViener Volkstheater'.'^ The horror of his final awareness is convincingly depicted:

Jakob (wirft sich ruckwarts auf die Erde) 0 Gattih steh mir beyS ' bald ist mit mir gescheherii Elpfleh', 0 Kindt von Gott des Himmels reinen Se^en. (Ludmilla uhd das Kind knien neben ihn). 192

SOHIEANEDER'S IMOBTALIT; i^:.(a) lo ICi-.o po 21 o

2, TG;JJ. p. 9ffo

3p cf., pp. 1559 156,

4, cf., p, 160.

5. cf.g p, 153. 193

Mozart's fame has now far outshone that of his

librettist, yet, in Vlenn^i of the late eighteenth century,

Schikaneder not only enjoyed the greater renown, but also provided the motivating power behind the creation of 'Die

ZauberflSte', Without him, as Grfiffner implies^and Perinet acknowledges^, there would have been no such foundation stone for German Opera. Incidents, for which Schikaneder has been greatly maligned, have become slanderous bones of contention perhaps merely as a result of human fallibility in the case of Corned, and theatrical accident in the case of the 'break' theory and the unfortunate omission on the 'Leipzlger Bflhne' in IBOst Even were the above conjectures entirely unacceptable, Schikaneder's sole authorship of the libretto to 'Die Zauberflfite' has already been proved beyond reasonable doubt by two notable specialists,^E. Koraorzynskl,

Schikaneder's only biographer, and 0, Rommel, the literary- historian of the Old Viennese Popular Theatre. In general, their findings on this question have been accepted by a number of more recent authorities, amongst them 0, E. Deutsoh.

Unfortunatafty, Schikaneder's path to immortality is made more ' difficult by the publication of such ill-^formed books as

Brlgld Brophy's 'Mozart the Dramatist', which appeared, as 194(a)

1. I/D, p. 151. fn. 2. EF. pp. 169, 238, 436. 3. ibici. p. 13,

4. ibid. p. 233,

5. ibid, pp, 265, 511,

6. ibid, p, 350-351»

7. GBf>. p, 87ff.

8. ibid, p, 92.

9. ibid. p. 89. lOo ESc p. 350, 194

recently as Itoy, 1964, and in which little acknowledgement

is made that the Old Viennese Popular Theatre ever existed.

The authoress deigns to mention that there appears to be some

doubt concerning the authorship of *Dle Zauberflflte*,^

Schikaneder's real claim to immortality is not an obvious one, and is even less obvious outside Germany and Austriab Neither is it a single, linear claim, but one which is diffxised and diversified among several channels of literary art. Some conception of its widespread dis• semination can be gathered from the variety of names, more famous than his, with ^ich Schikaneder and his works have been associated: Goethe, Schiller, Lessing, Grillparzer, Shakespeare, Ebtzebue,^ Iffland^ Raimund, Nestroy, Eoffmanjii Wieland, Kcingsteiner,^ Beethoven, Wagner, Weber, Strauss and Lehar. '

Goethe suspected the true significance of the libretto to 'Die Zauberflote* when he maintained: 'Bs gehorb mehr Bildung dazu, den Wert dieses Opernbuches abzuschatzen, als ihn abzuleugnen',^ and was sufficiently inspired by it to write a sequel T It has even been mooted that Schikaneder's prompt performance of *Das Labyrinth', being the second part of 'Die Zauberf iote», was a bid to outmanoeuvre Goethe.* Although Goethe's production of Mozart's opera in Weimar infused more Masonic thought into the libretto than was originally intended? he appreciated ^^.a^^ — Schikaneder had offered the composer.^ ^nibrettOo 'vKioS~^' peacfliy lont Itself to visual and niusioal interpret at ion, j " - Goethe praised the art of the 'Theatermann'^^ '....durch Kontraste zu vdrken und grosse theatralische \ Effekte herbeizufflhren».^° Schikaneder's influence on 195Ca)

1. p. 259. 2. .Sipeldaueroricfe, op, cit.

3. 1805. p. 6Sffp 'Neuerbautes'

4-, ciC, p. 135(a). 2.

5o of,, p. WCa). 4.

6o iiiS. pp. 93-95. 195

Goethe's 'Faust. 1 & 2', 'Wilhelm Meisters Lehro'ahre' and *Der lowenstuhl' has already beea noted Perhaps the greatest of Schikaneder's talents, about which detailed knowledge is unfortunately limited, was his ability to realise spectacle on stage. It is significant that Schikaneder 's most vivid theatrical imagery was Wit• nessed only in the suburban theatres of Vienna, by an audience for whom a spectacle, comedy and a pretty tune were the ideals of theatrical existence^ like lilozart, he had to be paid. His duty as an impresario, as tbe manager of a theatre and 'father of his children', was to curry the favour of his audience, and in this he was eminent 3y successful • It is ironical that the Viennese public, to whom he had given much pleasure, was eventually instrumental in his domfall, but '~ ! . J Schikaneder was by then a sick,' and possibly insane man.The 'fruchtbare Fhantasie', which Castelli extolled, ultimately lost its aesthetic sense, The few contemporary journals to report his decline give evidence of Schikaneder «s theatrical degeneracy, although signs do indicate that such condemnation was not the result of impartial and objective criticism.^ Even in the face of this adversity, Sclo-kaneder's ideas |of wlja* 'opera' implied, in terms of music," dialogue and setting, Ijygre to be developed later by Uagner, "Balders Tod', Schikaneder's production of the heroic 'Singspiel' on^ the 'Wanderbflhne' being the Cperatic treatment of Germanic legend,^ further maintains such a;_ 1 inkp "T^s did his creation and development of Singspiel as a truly German form. IThat IHozart could hot accomplish alone, Schikaneder and Mozart managed between them. They,proved "ttiat they could work independently Of French and Italian Opera and create as children of Germany. The musical culmination of Singspiel came with 19S(a)

1, A.;7S, pp. 97M75o

2, of., p. 172.

3, Av;V.i.o pp, 97^-975.

JS. p. 258.

5. 2iB. 'ZiLL' Gescliiclite der Oper» pp. V,V1,

6. ' E£o p, 2p8.

7. ibid.

J 196

'Die Zauberflote», but its textual development occurred laterj as Bchikaneder sought to coabine the form of nusic and dialogue v/ith Viennese local colour 9 realism and even satire.

The operettas of Strauss and Lehar towards the end •• 'A)f the nineteenth century readily allow themselves to be associated with Echikaneder's inheritance from the 'Alt- tSiener Volkstheater* and his ovm contributions to the same tradition.* Ihey share the air of unreality, which per• vaded Schikaneder's »Zauberopern», they provide popular melodies and caricature, they contrast comedy uith 'das Fathetische»9 they even, in the figure of irosch, for instance, the comic jailer of Strauss*s'Die Fledermaus', provide the 'laistigmacher» with opportunity for extempori• zation« 'hey do not, however, offer Schikaneder's, not even Hafner's, intensity of local colour, such as is to be found in the Prater scenes of his 'Tyrolcr Wastel'.* The theatrical situations in Strauss and Lshar are universally, both possible and appealing,' Schikaneder's wares on the other hand were manufactured r/ith a Viennese audience in minds hence the world-p/ide reputation of Strauss and Lehar, v/hilst Schikaneder's name, apart from its occasional revival on theatre programmes and its mention in academic discussion, sinks into oblivion. The theatrical effusion of Schikaneder's operatic settings gave an initial impulse to the growth of 'musik- alisches Drama'J whilst 'Die Zauberflote' has long since been acknowledged as the foundation-stone of German Operaf or, more specifically, German Homantic Opera. Beethoven regarded it as a master-piecef whilst Ueber's »EE•eisch{^tz' and 'Gberon'^ Wagner's 'Parsival' and 'Die ISeistersinger von JSriirnberg'reveal an indebtedness not to the one opera alone, but to the whole theatrical tradition which Schikaneder embodied. lo Cf ,9 p. lOii.

2o iilb. p. 13i8.

3. AL'Va^. p. 905 4o ioLd., p. 903, 197

The German Wanderb-JIbne brought Schikaneder into close and constant contact vath early German classical drama, and he did much, in a more modest way than the Schonemann and (Heubeg | companies, to further its popularity. He also profited from the experience. His 'Das Regensbupger Schiff' v/as to an extent influenced by Jessing's 'IJinna von Bamhelm',^ Schiller's 'Fiesco' inspired Schikaneder's 'Der Bucentaurus oders Pie VermShlung mit dem Keere in Venedig'j^ whilst Schikaneder's practice of contrasting comedy and tragedy, lightness and darkness, equates him as a theatrical craftsman with Shakespeare, of whose plays 'Macbeth', 'Hamlet', 'Romeo und Julia', 'Sommemachtstraum' and 'Sturm' he had an intimate and practical knowledge. Posterity has as yet seen little poetic value in his offer• ings, but at a time when German drama was struggling hard to begin its existence, these works should be accorded the relative merit they deserved. At the very least, Schikaneder's doctrine that dram@ must 'live' for the audience is a principle applicable to all theatres of the world o On the Wanderbuhne, as indeed later in Vienna, Scliikaneder managed a company in such a way as to attract an atdience; he managed a .theatre which was successful financially. At that time this had to be the first premise of any theatrical \mdertafcing. Before Schikaneder, the members of the 'Alt-Wiener Volkstheater', Stranitzky, Erehauser and Kurz, had directed their art with their stomachs in mind. The same necessity obtained later in 1821 f That Schikaneder could obey this demand and at the same time offer Gerzaan drama something of poetic and theatrical worth, developing German Singspiel as he did so, can only be laid to his crediti. To a theatre of this type IVieland's legends, and later those of 'Tausend und eine Nacht'^ could offer constant 1. cfpp. 101-119o

2. LC. p* 259 o 3o ibiJ. p. 3CG. '4;- ^ibid,. pp. 220, 259-240. 198 appeal. e?»*_?chikffl^d^^ to the theatre more than the flgig igherjta^^

:^^^jplotliO^>eE^^ teare wttjt The trageajToFTg^ to laugh at the" BkllfSl caricature of the al;Seay^g :jKi^erkoprp~ in 'Das Hegensbuf-ger Schiff. At this stage in Schikaneder's development, stage setting is not the vdld product of a sick loan's imagination J* but a necessary ad;junct to literary drama, a means of making the audience believe in a problem, not by words alone, although these are at times very effective in themselves, but by surely the correct interpretation of the term 'theatre'. This and his fer• tile imagination gave German drama a wealth of legend • and poetry, which would hardly have been available other• wise. Certainly he borrowed, he adapted, but the manner and effectiveness of his interpretation have the origin• ality of creative genius. As Schikaneder drew from the tradition of 'Alt-Wiener Volkstheater', so did the greatest of Austrian dramatists, Franz Grillparzer, drav/ on Schikaneder. 'Sappho' is indebted to Schikaneder's 'B&'nigssohn aus Ithaka's* '^e^ Traum , ein leben' and 'Weh dem, der lugt' have close scenic parallels with 'Die Zauberfldte', the theatrical repx»esentation of magic and dream being no small part of the traditions ' sOightly less obvious is the relationship between Grillparzer's 'Ahnfrau'^ and Schikaneder's 'Kbnrad langbart von Eriedburg oders Der Burggeist', which was still being perfomed in the Leopoldstadttheater in 1814,^ Raimund's 'Der Diamant des Geisterkonigs' and 'Der Verschwender' have grown from the same traditional roots as did 'Die ZauberfIflte'Schikaneder's 'Der wohltStige Derwisch oders Die Schellenkappe' was the forerunner of i;>(a)

1. . po £31 2. ibjjJ , p. 231.

5« i oid 0 p. pl3o ioJ.d. p. 5, A.^a. p. 957. 6. ibid, p. 924. 199

Raimund's 'Barometermacher auf der Zaubferinsel',^ and, rather ironically, after the controversy which has raged aroTind the authorship of 'Die Zauberflote', it has even been inferred that Raimund's 'Barometermacher' was, in fact, the work of Schikaheder,^ The latter's fondness for the theatrical presentation of 'Ensembleszenen' can be situated in the same context, such scenes recurring later in'Raimund's 'Gefesselte Phantasie' and Nestroy's 'Einen Jux will er sich machen',' Schikaneder's 'Die lyranten Oder: Das lustige Elend%. being the first German Singspiel of this era, v;as later performed in Vienna's leopoldstadttheater' under its new title 'Die Bettelstudenten' and was the forerunner and model for Festroy's farces 'Der bose Geist lampaziyagabundus oder; Das liederliche Sleeblatt' (,1833)A later association with Kari Millocker's operetta 'Der Bettelstudent' may, at least, be suspected.

.Nestroy's 'Lurapazlvagabundus' is ultimately relieved by the i I 'VersOhnung* of the popular stage, although potentially it

' contains the tragedy witnessed in "SchemberaSchikaneder*, aHer r von Boskowitz', being a plot unmistakably linked with the 'Don Juan' tradition of the ?Alt-Wiener Volkstheater'. The hero, Flottwell, in Raimund's 'Der Verschwender' descends a similar path, but, although he must inevitably fall, his salvation, as was Jakob's, and later Faust's, Is. in Heaven.^ In this one knov/n instance in Schikaneder, and in Raimund, is thus to be found -die prelude to Hebbel's tragic theory, that of 'VersShnung im Sinne der Allge- meinheit'. The community and its welfare have begun to override the lesser significance of the individual. The history of the 'Alt-Wiener Volkstheater', from its. establishment under Stranitzky to its ^d with the \ death of Hestroy, is unique. Its literary offerings are 1, p. 543

2. ioii,

ibid, p. 200

characterized in that they arise from the minds of men,

who are initially actors, and not poets. To them, a

playwright has a profession clearly distinguishable from

that of the poet. His message is not one of didacticism,

he does not seek to improve, but primarily to entertain.

Nevertheless, with the entertainment comes the lesson, hut

the moralizing is made acceptable to the audience via the

accessories of 'Alt-Wiener VoUt'stheater', The theatre's

literacy claims, v/here they existed, were incidental.

When Schikaneder died in 1812, he was sick and insane.^

He asked his visitors vfiiether they had known Maria 2. Theresia and then refused to communicate further. He had

allowed money to run through his fingers, his estate in

Nussdorf had been ravaged by Napoleon's army, so that not

insanity alone, but poverty too, beset him in the last years

of his life. The inventory of his belongings after his death is pitiful in its brevity. His "body was laid to rest

in a communal grave, but as far as his name and his

contribution to the German theatre are concerned, it is both

cruel and unjust to state, as it has been stated, that, like

the sparrow on the eagle's back, Emanuel Schikaneder was dragged to immortality only by the genius of Mozatt. 201 A ^ DDS

LIST OF ABBREVIATIONS

A: 'Alexander' Grosse heroisch-komische Operb lib: Emanuel Schikaneder. mus: Franz Teyber. AM: 'Augsburger Mozartbuch. Beitrage zur Mozart^ forschung'. 55." und 56. Band. ed. H.EndrSs, J. Ab Schlossersche Buchhandlung. (F.Schott). Augsburg W2/45. Aiaif^GQ: »Aus Llozart Freundes und Familienkreis'. Gratulatorisches Quodlibet. E.K. Bl{ifliml, Verlag Ed-Strache, 1923. „ AVdC: 'Allgemeine VervAlderung der Comodiantentruppen'. of., GddS. AW: 'Was macht der Anton im Winter?' Kbmische Oper* lib: Emanuel Schikaneder. mus: ThaddSfus Gerl & Benedikt Schack. AVJTL.E: 'Altwiener Theaterlieder'. ed . B. Smekal. 'Einleitung'. Uiener Literarische Anstalt. Vienna, Berlin. 1920, AWVK: 'Die Alt-Wiener Volkskomodie'. 0. Rommel. Verlag von Anton Schroll. Vienna. 1952.

Bd: Barookaramaojr^ BP; 'Babylons I^ramiden' Grosse heroische-komische Oper. lib: Emanuel Scbikaneder^ mus: Gallus Mederitsch & Peter de Winter. BHIVS: »Briefe flber die Ivienerische Schaubflhne' J, Sonnenfels. bey J. Kurtzb&'ck. Vienna. 1768. B17AM: 'Die Briefe 17. A. Eflozarts und seiner Familie' 5 BSnde. ed. L. Echiedermair. bey GbMller. Wiesbaden & Munich. 1914.

GG: •Qomedy in Germany in the First Half of the Jiighteenth Century'. B. Aikin-Sneath. Oxford Clarendon Press. 1936. 00: 'Composers of Operetta'. G. Hughes. Llacmillan 86 Co., Ltd. Great Britain. 1963.

D: 'Denksteine' Dr. August. Schmidt. Verlegt von der riiechitaristen=Congregation. Vienna 1848. DB: 'Der Dorfbarbier' Singspiel. lib: C. F. VJeisse. mus: J. A, Hiller. 1777. DDS: 'Das deutsche Singspiel* H. M. Schletterer. Verlag von Breitkopf und Ha'rtel. Leipzig & Augsburg. 1865. «o « 202 DG - G DG: 'Der dumme Gartner aus dem Gebirge' Singspiel. lib: Emanuel Schikaneder. mus: ThaddSus Gerl & Benedikt tchack, Vienna 1789. DJ: 'Don Juan' komisch-tragische Oper in zwei Akten. Aus dem Italienischen ins Deutsche (ibertragen nebst Bemerkungen (iber eine angemessene Bahnen-Darstellung von Dr. U. Viol. Verlag von P.E.C.Leuckart. iireslau 1858. DLs 'Die liyranten' Somische Operette. lib: Emanuel Schikaneder mus: iikanuel Schikaneder. Bey J, T. Edden von Trattner, Innsbruck 1776. DI/P: 'Das Laster kSmmt an Tage' Schauspiel. iiJmanuel Schikaneder, publ, J, J. Mayres. ' Salzburg 1785. DSB: 'Dramatis che luad and ere Skizzen nebst Brief en (iber das Theaterwesen zu Uien' ed. J. Schink. Sonnleithnerische Buchhand lung.' Vienna 1785. DDW: 'Der unruhige Janderer' K. F,' Hensler. Gedruckt mit Schmidtischen Schriften, Vienna 1796. DV: 'Das deutsche Valideville' F, liebstoeckl. DW: 'Dichtrang und Wahrheit' Goethe r/erke, 2 vols, ed. Hp Friedenthalb Ehaur Klassiker. Droemersche Verlaganstalt. Munich 1955. EB: 'Encyclopaedia Britannica'. Ed. in Oh: H.S.Ashmore. William Benton. London, Chicago, Geneva, Sydney, Toronto. 1965. EDBs 'Die Eipeldauerbriefe' J. Richter. Bey Peter Rehm. 1785» 1799 & 1808. ES: 'Emanuel Scbikaneder' E. Komorzynski. Verlag ludwig Doblinger. lUesbaden & Vienna 1951. ESE: 'Entwicklung der Schauspielkunst aus den volkstik- lichen Elementen' cf., GddS\, • Fs 'Der Fagottist'- J* Perinet. mus: r/enzel Muller. Gedruckt beylathias Andrias Schmidt. Vienna 1791. FB: 'Fiaker in Baden' Lustspiel. Emanuel Schikaneder. 1795. FddBs 'Fortentwicklung durch die 3erufschauspieler' cf,, GddS. f ns footnote. FW: 'Fiaker in Wien' Lustspiel, 'Emanuel'Schikaneder. 1795; Gs 'Der Grandprofos' Trauerspiel. Emanuel Schikaneder. In der Montagischen Buchhandlung. Regensburg 1787. BS - IS 203

'G3Sg 'Goethe iSiceatenaial JLtudies' by nenbers of the iQculty of Indiana University, cdo H, J. i^eesen. Indianio University, BlooEiin^5ton, Indiono. 1950. 'Geschichtc der doutsehen Mterotur' Grabert & t2ulot. Bayerischer Gchulbuch-Verlago r^unich 1961» GddSs 'Gescbichte der deutochen ^chouspiclkunct' iilo Devriento JlGner* Berlin 1905 o

HDs 'Hoans Jollinser' Schouspiol. j^nanuel Lchikanoder, Regonsours 187Q. HGSs 'Fhilipp Hsiasrs gesammelte t-cheiften' edo Jo Sonnleithner, Im Verla^je bey Johann Baptist vVallishQUssero Vierma 1812o HLs 'Herzog Xaidoic von Bteyermsrk' fclchauspiol. JEahuel ichikaneder. 1792.

Is 'Idomeneuso Soni^ von Creta'. muss ^V. A. Llosart. libs Vorescoo Bei G. 0. UoyGP ^Sc i^unswick. Z7;eite Aufla£;e. Bci I. lo i^er & COo, London, (ISoo.?)"

jJTs ^from Joseph II to the Jacobin Obpials'o i3o '^angeraann. Qsford University Frees 1959o k.Os «komisch© Oper' KO.Vbs •Kbmiseh© Opern' Vorbericht. libs 0. IVeisse. muss J. Ao Hillero Im Verlas© der Pykischcn Buchhandlungo LDipsis 1777» •Eleine vViener Komoiron' 5o Thoil, I-. GrSffner, I*o Becks UniverGitSts=3uciiiiandlunso Vienna 1843. L'Der Luftbailon* (See bibliography^). Ls •Das labyrinth* Grosso heroisch-komischc Oper. lib: l^anuel Schikonoder. QUO: Peter de vVinter. 1798. 'Msuart und Dariolette' Slngspiol. lib; C. F, iVeisse. muss Jo A, Hiller. 176&o LHs 'Lottchon am Hofe' Singepiel. libs Co F* woisse. muss Jo Ao Hillerb 1767o libs librettoo Leopold llozarto 'Letters of Uozart and his Family' edo i2o Andersono nacmillan & Co. London 1938o

Hi iTolfgang Amadous Mozart*

M. VI: ' 'Memoiren meines Lebens. Gefundenes und Empfundenes, Erlebtes und Srstreb^jes.' I. E. Castelli.. Neuauflage G. Lluller. Munich 1915. MDi 'Mozart the Dramatist' B. Brophy. Faber & Faber. London 1964. IiaDL: 'Mozart. Die Dokumente seines Lebens'. ed. 0. E. Deutsch.. B&enreiter. Basle, London, ' New York 1961. Mk.Bt: 'Die Maschinenkom2?die. Barocktradition 1.' 0, Rommel „ Samialung Deutsche LLteratur, Reclam. Leipzig 1955. M: : Maria Anna Thekla Mozart. filmM: Madame Mozart.. MOs 'Moza3?t's Operas* A Critical Study. E, J„ Dent, Chat to & iVindus, London 1915* Iffi: 'Mozart in Retrospect'. A. Hyatt King* Oxford University Etess, 1955* ' MS; 'Maria Stuart' J. Schiller* Macmillan & COiLtd« New .York 1956* • . . Ms: Musiksammlung. Oesterreichische Nationalbibliothek« Wien. mus: music* MsKt : 'Magister Velthen und seine Emistepoche' eft, GddS, MWdS: 'Die Musik in der'Wiener deutschen StegreifkomSdie' R. Haas. Studien zur Musikwissenschaft. ZwSlftes Heft* Universal^Edition* A* G* Vienna 1925. WL: 'Mozart und die Wiener Logon' 0^ E. Deutsch* Herausgegeben von der Grossloge von Uien* Verlag der Freimaiirer=Zeitung* Vienna 1952. Mz: Mozarteum, Salzburg. mm-, 'W. A* Mozart' P. Nettl* Fischer*-Bttcherei, ii?ankfurt a^M. Hamburg 1955.

0: . Oper. ' . * QD: 'Die Oper in Deutschland' J. Cornet* Meissher & Schirges. Hamburg 1849. Qg: 'Oberon, Konig der Elf en' lib: K* L,'Giesecke* muss P. Wranitzky. publ. Johann Baptist IValli shatis ser. Vi enna. 1806. OLP: 'Ollapatrida des durchge^triebenen Fuchsmundi' J. A, Stranitzky. Vienna I7II ' (ed. R, M. ' Werner. Wiener Neudrucke X Vienne. 1886) SN: 'osterreichische Nationalbibliothek', Os: 'Oberon Oder Kdnig der Elf en' S. Seyler. Deutsche Schaubfihne, Vierten Jahrgangs, Eilfter* Band. Augsburg 1792. ' As in Text, Cb a?a , 205 Oat ooberpa' Co ll„ Jlelazido In dor Ueidoonnischcsn Biichhandlung* LoipKig 1819«

Ps mssto mili «300 jahre Uieaer QpemthGatorb Uork und Uordoao' Tisohm/ ITitischnik/ FritZo Fortuna Verlaso Vienna 1953o SBs 'The Rovolutionary fiaperor' So '^^ Fadovero Jonatiion Capo. London 193^ o BLs ^Der rcdlicho Lsndmann' raailioogonaldCe Ikonuol SchikancdeTo Vienna 1792 o HSs 'Dae aegeaispurGer^'' Schif*" laaetspielo Manuel Bchikanedero Salzburg Z7@0o SVs 'Die HaubvSgel' Schauspiolo Saanuol S^chikonedoro publp Jo Jo FJayres, Salzburg 1782p

6A8 «Dcr Spiegel von Arkadien' Grocso horoicch- kofflische Qpe3*o libs H^nuel Schikancder. Eiuss ^QQZ Schriften, iûni^h 1814-0 SDoEs ^Die gîngspiele der englischcn Sbmodiantcn iMd ihrer lachfolger in Doutschlandg Hdland ' land Skondiaavioa' Jo Bolto, Verlog von Leopold VosBo naaburs & Loipzie 1893 o SHBs 'Schembera p Herr von Boskovdtz' AllQôrischee .Ochouspielo li^nuol Schikancdcro Gcdruckt r . bey Joseph Goorg Trasslero t^Hm. 1803 o SCfs "Das Bchauspiel dor 'wajiaerbflhne' 17, Flenmdnso Deutsche Iii.teratur« Seibe Barock; \ _ Baroclaaraaao Bd* 3o LBip_3ic 1931 o gVBs *Dle sbzlalen Voraussetzuhgen und der Betrleb' Oho In 8^ Ts 'Thespis' GGlegenheitestticko Qaaauel EchikanedGr^" Vionna 1801« TGASs 'Uozart und„echikaaodGr. 131^ theatralioches „ Gosprach ubor di© AuffuhrunG dor Zauborflote im Stadtttoatcr' Jo Forinct« Godruckt mit Albortischea Schriftono Vienna 1801. TGVTs' ''Theatralisches GesprSch zolschen Uoza27t und Schikoncdor fiber den Verkouf dos Thontors'o Jo Ferineto Joseph Bicdl^ Vienna 1802. TK% Theatcrkalondero imoZVBs 'Thames'0 2un vorliegendon Band, 'Ho A, tlozarto Houo Ausgabe sSImtlicher werkco Cerio He B£lhncnt76rke« teligruppe 6o Bd«lo* edo F« Ho Neumanno BSreareiter-Verlos* Kasselp Basle* 1957• TJs 'Das Thoator in der Josefstadt" A. BauoTo i!3anutiUGprosseo Vlonaa & Ounich 1957o tps title-pageo Tei iEheatersamsBlune 0 Oesterreichische Katlonalbib- liothoko .* As. in teaeti, TO? - WZ. 206 TTi. 'Thespis Traum' Gelegenheitsstiick, liiiaanuel Schikaneder. Vienna 1801o TWs- «150 Jahre Theaitei? an Wien^! Ao Bauer o AmaltheaVerlag. Zurich, Leipzig, Vienna 1952» TEifslJ: »Der !l?y3?oler Wastel' Komische'Oper. libs Emanuel .Schikauied'er«' im Haibel* publ. August Gears. Leipzig 1798» TWstRs ,»Der HJyroler festel»' Alt-Uiener Volkstheatero Bdolo ed, Oe Bommel* Sonderausgabe der Deutschr0est.erreichi3chen Klassiker- Bibliothek, ITeschenj, Leipzig, Viennao 1917o TZBs »Der Test zu Mozarts "Zauberflifte" und Johann Georg Karl Giesecke.': F, Grandauro Seperat-Abdruck aus den "Bayerischen Id.teraturblSttern"i Vienna o

verse,' va? vol. lo etc*.. V©s Vorerinrierung. Vrs Voirede. VS: •Dl^ verdeckten Sachen' Komische Oper. libs ' Emanuel Schikaneder. mus: ThaddSus Gerl & Benedikt Schack. 1789. VWs »Vom Wiener Volkstheater* P, SchlSgl. Wien & Teschen k» ko, Hofbuchhandlung Karl Epochaskab Vienna 1883.

\7AMs »Wolf gang Amadeiis-Mozart' Eine Biographieo E,. Schenko Amalthea-Verlag. Zi&ich, Leipzig, Vienna,' 1955- WAMb: .'Mozart• E. Blom. J. M. Dent & Sons, Ltd. > London 1935. WAMds »17. A. Mozart o 4 vols. 0. Jahn. Druck und Verlag von Ereitkopf und HSrtelo Leipzig 1856< WAHIs: 'Wolfgang Aiaadeus Mozart' Sein Leben und sein IVerk. A. Schurigo Insel Verlag. Leipzig 1913. . WDs 'Arien imd Duetten aus dem wohltatigen Derwisch' Zauberspiel mit Gesang. lib: Ikanuel Schikanedero muss ThaddSus Gerl & Benedikt Schack & others, publ. Mathias Ludvjig. Vienna 1791. WH3?A,, Wienerhoftheateralmanacho 18mo p. 89ff . Geschichte der V/iener. Schaubflhneb WOs 'World of Opera» Epockcjay & Weinstock. Methuen & Co. Ltd.Great Britain 1963. WHs »Der IVundermann am Rheinfall' (Srosse komische Opera lib: Emaniiel Schikaneder. muss J. Seyfried. Vienna 1799. WSB: Wiener Sbadtbibliothek. WTAs Wiener Theateralmanach. < mzj Wiener Theaterzeitung. mi Wort in der 2elt CSee blbllbgraphy p«S13) Z,- ZVB 207 Zs 'Zalde>:, \7. A.« MQzazrt, Ne^e Ausgabe sSmtUcher Werke » Serie'ilo Buhnenwerke. Werkgruppe 5, BdolOo ed. F. Ho Neuoann, BSrenreiter, Eassel. Basel, London. 1937« ZB: »Die Zauberflate» ed. K; Soldan, Co P. Peterso Ecankfupt j London, New York. 1932. ZB.ls *Die ZauberflSte, Unbekannte Handschriften und seltene Drucke aus der FxjUhzett von Mozarts OpeTi' ed. Etitz Bi?ukner, Verlag Gilhofer und Ranschburg, Vienna 1934. ZB.2s »Der"Zauberfl5te" zwelter Theil.» libs Emanuel Scbikaneder. nniss Peter de Winter, ed. A. Bauer. Oesterreicbische Musikzeitscbrift, Jahrgang ^•, Vienna 19*9 o ZBps »Die ZauberfiSte». M, Pirker. Wiener LLterarische ' Anstalt.' Vienna, Berlin 1920. ZMS: »Zu Mbzarts Sommerreise nach Wien im Jahre 1773' A.' Orel6 Mozart-iJahrbuch 19516 . Salzburg 1953. „ ZT: 'Zeittafel der Erstauffubrungen und anderer Ereignisse*. Das Freihaustheater auf der Wieden. 1787-^1801^ 0. Eo Deutsch. Deutsober Verlag fur Jugend und Volk. Gesellscbaft'mbH. Gottlieb Gistel & Cie. Vienna & Leipzig 1937. ZVB: ZuQ vorliegenden Band, cfTh. 208

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* This edition bears no precise date of publication. '* This edition in the possession of the Viennese City Library has no details of the time and place of its publication.