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WOLFGANG AMADEUS MOZART Works for the Stage New Mozart Edition II/5/15 The Impresario WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 15: DER SCHAUSPIELDIREKTOR [The Impresario] PRESENTED BY GERHARD CROLL 1958 International Mozart Foundation, Online Publications IV New Mozart Edition II/5/15 The Impresario Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications V New Mozart Edition II/5/15 The Impresario CONTENTS Editorial Principles ……………..…………………………………………………….. VI Foreword………….……..…………….……………………………………………… VII Addendum 1990………………………………………………………………………… X Facsimile: Leaf 1 r of the autograph……………………………………………………… XI Facsimile: Leaf 13 r of the autograph…………………………………………………….. XII Facsimile: Leaf 19 r of the autograph…………………………………………………….. XIII Facsimile: Leaf 23 r of the autograph……………………………………………………... XIV Facsimile: Title page, beginning of the 1st scene and the last two pages with the final vocal number from the original text-book …………………………………. XV Dramatis Personae……………………………………………………………………….. 2 Index of scenes………………………………………………………………………….. 2 Der Schauspieldirektor…………………………………………………………………… 3 Appendix Autograph sketch for the Arietta No. 1………………………………………………… 85 International Mozart Foundation, Online Publications VI New Mozart Edition II/5/15 The Impresario EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for research footnotes, all additions and completions in the music purposes a music text based on impeccable scholarship volumes are indicated, for which the following scheme applied to all available sources – principally Mozart’s applies: letters (words, dynamic markings, tr signs and autographs – while at the same time serving the needs numbers in italics; principal notes, accidentals before of practising musicians. The NMA appears in 10 Series principal notes, dashes, dots, fermatas, ornaments and subdivided into 35 Work Groups: smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and I: Sacred Vocal Works (1–4) ornamental notes in square brackets. An exception to II: Theatrical Works (5–7) the rule for numbers is the case of those grouping III: Songs, Part-Songs, Canons (8–10) triplets, sextuplets, etc. together, which are always in IV: Orchestral Works (11–13) italics, those added editorially in smaller print. Whole V: Concertos (14–15) measure rests missing in the source have been VI: Church Sonatas (16) completed tacitly. VII: Large Solo Instrument Ensembles (17–18) The title of each work as well as the VIII: Chamber Music (19–23) specification in italics of the instruments and voices at IX: Keyboard Music (24–27) the beginning of each piece have been normalised, the X: Supplement (28–35) disposition of the score follows today’s practice. The wording of the original titles and score disposition are For every volume of music a Critical provided in the Critical Commentary in German. The Commentary (Kritischer Bericht) in German is original notation for transposing instruments has been available, in which the source situation, variant retained. C-clefs used in the sources have been replaced readings or Mozart’s corrections are presented and all by modern clefs. Mozart always notated singly other special problems discussed. occurring sixteenth, thirty-second notes etc. crossed- Within the volumes and Work Groups the through, (i.e. instead of ); the notation completed works appear in their order of composition. therefore does not distinguish between long or short Sketches, draughts and fragments are placed in an realisations. The NMA generally renders these in the Appendix at the end of the relevant volume. Sketches modern notation etc.; if a grace note of this etc. which cannot be assigned to a particular work, but kind should be interpreted as ″short ″ an additional only to a genre or group of works, generally appear in chronological order at the end of the final volume of indication ″ ″ is given over the relevant grace note. the relevant Work Group. Where an identification Missing slurs at grace notes or grace note groups as regarding genre is not possible, the sketches etc. are well as articulation signs on ornamental notes have published in Series X, Supplement (Work Group 30: generally been added without comment. Dynamic Studies, Sketches, Draughts, Fragments, Various). Lost markings are rendered in the modern form, e.g. f and p compositions are mentioned in the relevant Critical instead of for: and pia: Commentary in German. Works of doubtful The texts of vocal works have been authenticity appear in Series X (Work Group 29). adjusted following modern orthography. The realisation Works which are almost certainly spurious have not of the bass continuo, in small print, is as a rule only been included. provided for secco recitatives. For any editorial Of the various versions of a work or part of departures from these guidelines refer to the relevant a work, that version has generally been chosen as the Foreword and to the Critical Commentary in German. A comprehensive representation of the basis for editing which is regarded as final and rd definitive. Previous or alternative forms are reproduced editorial guidelines for the NMA (3 version, 1962) in the Appendix. has been published in Editionsrichtlinien musikalischer The NMA uses the numbering of the Denkmäler und Gesamtausgaben [Editorial Guidelines Köchel Catalogue (KV); those numberings which differ for Musical Heritage and Complete Editions]. in the third and expanded edition (KV 3 or KV 3a ) are Commissioned by the Gesellschaft für Forschung and given in brackets; occasional differing numberings in edited by Georg von Dadelsen, Kassel etc., 1963, pp. the sixth edition (KV 6) are indicated. 99-129. Offprints of this as well as the Bericht über die With the exception of work titles, entries in Mitarbeitertagung und Kassel, 29. – 30. 1981 , the score margin, dates of composition and the published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board International Mozart Foundation, Online Publications VII New Mozart Edition II/5/15 The Impresario FOREWORD On 3 February 1786, just three months before the very His Imperial Majesty and the illustrious person of the first performance of Figaro , Mozart made the following Arch-Duchess Christine; reaching Schönbrunn, they entry in his work catalogue: “Der Schauspiel Direktor. descended at the Orangerie there. This building had A comedy with music for Schönbrunn. Consisting of been furnished most splendidly and ornately for a Overture, 2 arias, a trio and a Vaudeville. – for Mad: me luncheon. The table under the orange trees was decked Lange, Mad selle Cavaglieri, and M: r Adamberger .” This with native and foreign flowers, blossoms and fruits in entry marks the completion of the composition, i.e. – as the most agreeable way. While His Majesty dined with one may legitimately conclude from Mozart’s habit – the distinguished visitors and guests, the Musicians of the completion of the Overture, the last piece to be the Imperial and Royal Chamber let music be heard on composed. Mozart began the first piece, the trio, on 18 wind instruments. After all had risen from the table, a January of the same year, “ Ich bin die erste Sängerin ” play specially composed for this celebration with arias, [“ I am the leading lady ”]. 1 Between these two dates, titled the Schauspiel-Direktor, was performed by that is, within two and a half weeks, the score of the players of the I. and R. National Theatre in the theatre Schauspieldirektor was completed. Gottlieb Stephanie erected at one end of the Orangerie. After its the younger wrote the text, an “ occasional piece in one conclusion, an opera buffa, likewise quite newly act ”. Die “idea” for the text came, in Stephanie’s own composed for this occasion with the title Prima la words, from Emperor Joseph II himself. 2 The musica e poi le Parole, was presented by the company “occasion” for the performance was an entertainment of the Court Opera on the Italian stage put up at the put on by the Emperor in the Orangerie of the palace at other end of the Orangerie. During this time, the Schönbrunn on 7 February 1786 for the Governor Orangerie was illuminated most splendidly with many General of the Netherlands, at that point sojourning in lights on candelabras and plaques. After 9 o’clock, the Vienna. 3 A performance of the Casti-Salieri opera buffa
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