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The Magic Flute’ Click here for Full Issue of Fidelio Volume 9, Number 1, Spring 2000 A Mozartian Warm-Up for ‘The Magic Flute’ he discovery of Mozart’s significant Weibchen.” Schikaneder, who is credit- Trole in the opera The Philosopher’s ed with two of the works in The Philoso- Stone casts a whole new light on his pher’s Stone, was the creator of the comic famous opera The Magic Flute. This figure Papageno in The Magic Flute. recording presents the long-lost half-sis- Further, the other three collaborators ter. It is also something of a minor mira- in The Philosopher’s Stone also played cle that the opera, a product of the col- major roles in the following year’s pro- laboration of five composers, is as duction of The Magic Flute. Johann Bap- delightful as it is. tist Henneberg, who has 10 of the 24 In 1997, musicologist David Buch attributions in The Philosopher’s Stone, announced his discovery of an old score including most of Act I, was the conduc- of the 1790 opera, The Philosopher’s tor for The Magic Flute (except when Stone, wherein a copyist had identified Mozart himself chose to conduct). Franz The Philosopher’s Stone, or which of five composers, including Xaver Gerl, who is identified as com- The Enchanted Isle Mozart, had composed which part. In posing four works in The Philosopher’s by Wolfgang Amadeus Mozart, 1998, the Boston Baroque, under Martin Stone, sang the bass role of Zarastro in Johann Baptist Henneberg, Pearlman, recorded the opera with peri- The Magic Flute. Finally, Benedikt Benedikt Schack, Franz Xaver od instruments. And in 1999, Telarc Schack, with five attributions in The Gerl, and Emanuel Schikaneder. released the CD. The five composers Philosopher’s Stone, was the tenor, A fairy-tale opera from 1790, stayed together as a team in producing, Tamino, in The Magic Flute. How far rediscovered by David J. Buch. in 1791, Mozart’s The Magic Flute—of Mozart’s role extended in the composi- Boston Baroque, conducted by which Mozart was the sole composer. tions attributed to the others is not Martin Pearlman Two major questions arise: Why known. However, as Pearlman relates Telarc CD, 1999, $29.97 would Mozart work with a team of five in the text included with the CD, evi- composers? And, what changes oc- dently Mozart would arrive at Schack’s the masses, and against high-brow, effete, curred in the “sequel,” when Mozart residence and, in the few minutes of and decadent fare, such as the influence assumed full control? waiting for Schack to dress to go out, he of the French materialist and cynic, would playfully compose music into Voltaire, upon the king, Frederick the The ‘Magic Flute’ Team Schack’s unfinished opera scores. Great. The publication of Wieland’s What was Mozart doing in joining this Shakespeare collection in German was compositional team in 1790? Some back- Schikaneder and Wieland followed the next year, 1767, by an explo- ground is needed. The other four com- Schikaneder created the libretti for both sion of cultural optimism from Nicolai’s posers were members of Emmanuel operas, drawing upon Christoph Martin publication of Mendelssohn’s Phaedon. Schikaneder’s acting troupe at the The- Wieland’s popular collection of tales, Schikaneder caught the acting bug ater auf der Weiden, in a working-class Dschinnistan, which had lately been pub- no later than 1769, joining an acting suburb of Vienna. Mozart and Schika- lished (between 1786 and 1789). Howev- troupe in 1773 to perform Shakespeare. neder had significant connections to each er, Schikaneder’s reliance on Wieland for When, in 1789, he assumed directorship other, and to a common republican pro- material is the tip of the iceberg. He of the Theater auf der Weiden, he put ject of educating and uplifting citizens. probably owed the direction of his whole on at least four plays based upon Previous to Buch’s discovery, it was life to Wieland. When Schikaneder was Wieland’s translations within two years. assumed that Mozart had contributed to 15 years old, in 1766, Wieland’s transla- Schikaneder created three of the plays, Schikaneder only one of the works in tion of 22 Shakespeare plays launched a and a fourth, Oberon, was turned into a The Philosopher’s Stone, the famous revolution in German cultural life. The libretto by Karl Giesecke, another mem- “Miau! Miau!” duet that opens the translation was published in Berlin by ber of his troupe. Giesecke, also in the Finale of Act II. (This assumption had Friedrich Nicolai, who had been allied premiere cast of The Magic Flute, later been based upon a known copy of this with the playwright Gotthold Ephraim became a famous professor of mineralo- “cat duet” in Mozart’s hand.) Since Lessing, and his close collaborator, Moses gy, upon whom Goethe relied for Mozart had contributed individual Mendelssohn, since the mid-1750’s, in unusual mineralogical samples. works to several operas by others, noth- efforts to build a German culture capable Giesecke had been educated, during the ing much was made of this. Now, Buch of sustaining a republic. The three had American Revolution, at Göttingen, a has identified Mozart as the main com- launched a cultural journal in the late hot-bed of Benjamin Franklin’s collabo- poser of the Act II Finale, along with 1750’s, to wage war against the low- rators in Europe. (Wieland’s Oberon the Act II duet, “Nun, liebes grade “soap-opera” fare being peddled to attracted another Franklin admirer, 103 © 2000 Schiller Institute, Inc. All Rights Reserved. Reproduction in whole or in part without permission strictly prohibited. soon after Giesecke had turned it into a in Vienna in 1776, per discussions with Quite courageously, Schikaneder libretto: In 1799-1800, it was translated Lessing. Intense political fighting sur- opened his first stay in Vienna, in into English by the U.S. Ambassador to rounded the policy of bringing Shake- November 1784, with the same Abduc- Prussia, John Quincy Adams.) speare, Goethe, and Lessing to German tion! Shortly thereafter, in February subjects. Frederick the Great weighed in 1785, his attempt to perform Beaumar- The Shakespeare Project against such a loving fight for the hearts chais’ Marriage of Figaro as a German Mozart, six years younger than and minds of the population, with a 1780 play, was prohibited by Count Pergen, Schikaneder, shared in the benefits of pronouncement, “De la littérature alle- the head of the secret police. Although the republican networks that launched mande,” intoning: “The rules of the the- Joseph II proceeded to promote him for the Wieland Shakespeare and the ater are not arbitrary. They are in Aris- the National Theater itself, Schikaneder Mendelssohn Phaedon. Mozart’s father totle’s Poetics.” And in Vienna, Joseph was second to Brockmann, the lead Leopold obtained a set of Wieland’s II’s enemies attacked Lessing in 1780 as a actor there, and, from 1786 to 1789, works (from a friend, Salomon Gessner) paid propagandist for Jews. In the spring Schikaneder left Vienna to tour his own in 1766, immediately after they appeared of 1781, Mozart was recruited to Vienna troupe. Benedikt Schack joined the in print. When his son, Wolfgang, at 21 by the principals of the National The- troupe when the tour reached Salzburg years of age, performed for Wieland in ater: von Sonnenfels, van Swieten, Count in 1786. In these years, Schikaneder Mannheim (December 1777), Wieland Cobenzl (the Court and State Chancel- added the new playwright Friedrich declared that meeting Mozart and hear- lor), and G. Stephanie, the librettist for Schiller to his repertoire of Lessing, ing him play was “a real piece of good Mozart’s first opera there, The Abduction Goethe, and Shakespeare—although fortune.” Discussions ensued around from the Seraglio. He lived with friends Schikaneder was known for introducing making the German language sing, and of Moses Mendelssohn, the Arnsteins, his own alterations into the plays. around breaking down the walls who provided him with a copy of In 1788, Johann Friedel, who had been between language and music, but plans Mendelssohn’s Phaedon. in Schikaneder’s troupe in Vienna in for collaboration on a singspiel weren’t 1784-85, opened the Theater auf der Wei- realized, as Mozart left for a timely pro- Schikaneder in Vienna den with Schiller’s Kabale und Liebe and ject in Paris, involving Lafayette’s circles Schikaneder visited Vienna in 1783, and Lessing’s Emilia Galotti. When Friedel and the American Revolution. there performed a very successful Ham- died in 1789, Schikaneder returned to Meanwhile, Schikaneder’s theater let. This very likely caught Emperor Vienna, with Schack and Gerl in his activities between 1769 and 1780 includ- Joseph II’s attention, as the play was troupe, to run the theater. Financial back- ed all the new plays of Lessing, a couple politically sensitive in Vienna. On an ing was secured from Joseph von Bauern- by Goethe, and many Shakespeare earlier occasion (according to Mozart’s feld (whose son Eduard later became plays—including his favorites, Hamlet, letter to his father of Nov. 10, 1781), the Franz Schubert’s good friend). The July Macbeth, Richard III, and King Lear. He Emperor was to have had Hamlet per- 1789 opening was The Two Antons by performed in many towns and cities, formed for the visit of Russia’s Grand Schack and Gerl. Mozart enjoyed this including Augsburg, Nuremberg, and Duke Paul. However, the Shakespear- opera, and later wrote his K. 613 Piano Munich. In 1779, in the Slovenian town ean actor, Brockmann, told Joseph II Variations based upon the most popular of Ljubljana, he led his troupe in a per- that he could not go through with it, melody from this singspiel, “Ein Weib ist formance of a play, Winter Quarters in because the Grand Duke was, in real das herrlichste Ding auf der Welt” (“A America.
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