DOCSLIB.ORG

WOLFGANG AMADEUS MOZART Works for the Stage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WOLFGANG AMADEUS MOZART Works for the Stage New Mozart Edition II/5/2/1-2 La finta semplice WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 2: LA FINTA SEMPLICE (The Feigned Simpleton) PRESENTED BY RUDOLPH ANGERMÜLLER AND WOLFGANG REHM 1983 International Mozart Foundation, Online Publications IV New Mozart Edition II/5/2/1-2 La finta semplice 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/5/2/1-2 La finta semplice CONTENTS Sub-volume 1 Editorial Principles ……………..…………………………………………………….. VII Foreword………….…………………….……………………………………………… VIII Facsimile: Leaf 1r of the autograph (beginning of the Sinfonia)………………………. XXVII Facsimile: Leaf 71r of the autograph (from No. 8)…………………………………….. XXVIII Facsimile: Leaf 109v of the autograph (end of No. 11)………………………………… XXIX Facsimile: Leaf 162r of the autograph (beginning of the Pantomime)…………………. XXX Facsimile: Leaf 165r of the autograph (beginning of No. 18)………………………….. XXXI Facsimile: Leaf 232r of the autograph (from No. 25)………………………………….. XXXII Facsimile: Leaf 236r of the autograph (from No. 25)…………………………………... XXXIII Facsimile: Leaf 242ar of the autograph (from No. 25)…………………………………. XXXIV Facsimiles: Title page, dramatis personae, and beginning of the first act from the text-book, Salzburg, 1769……………………………………………………….... XXXV Dramatis Personae, orchestral scoring…………………………………………………… 2 Index of Scenes and Numbers……………………………………………………………. 3 Sinfonia…………………………………………………………………………………... 5 Atto primo………………………………………………………………………………... 25 Sub-volume 2 Index of Scenes and Numbers……………………………………………………………. V Atto secondo……………………………………………………………...……………… 167 Atto terzo………………………………………………………………………………… 301 Appendix 1. Original end of No. 2………………………………………………………………….. 403 2. Original version of No. 5……………………………………………………………… 403 3. Original end of No. 8…………………………………………………………………... 411 4. Original end of No. 11…………………………………………………………………. 412 5. Original end of No. 16…………………………………………………………………. 413 6. Original end of No. 17…………………………………………………………………. 413 7. Original end of No. 22…………………………………………………………………. 414 8. Original version of No. 23…………………………………………………………….. 414 9. Original version of No. 25…………………………………………………………….. 420 International Mozart Foundation, Online Publications VI New Mozart Edition II/5/2/1-2 La finta semplice EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for research volumes are indicated, for which the following scheme purposes a music text based on impeccable scholarship applies: letters (words, dynamic markings, tr signs and applied to all available sources – principally Mozart’s numbers in italics; principal notes, accidentals before autographs – while at the same time serving the needs principal notes, dashes, dots, fermatas, ornaments and of practising musicians. The NMA appears in 10 Series smaller rests (half notes, quarters, etc.) in small print; subdivided into 35 Work Groups: slurs and crescendo marks in broken lines; grace and ornamental notes in square brackets. An exception to I: Sacred Vocal Works (1–4) the rule for numbers is the case of those grouping II: Theatrical Works (5–7) triplets, sextuplets, etc. together, which are always in III: Songs, Part-Songs, Canons (8–10) italics, those added editorially in smaller print. Whole IV: Orchestral Works (11–13) measure rests missing in the source have been V: Concertos (14–15) completed tacitly. VI: Church Sonatas (16) The title of each work as well as the VII: Large Solo Instrument Ensembles (17–18) specification in italics of the instruments and voices at VIII: Chamber Music (19–23) the beginning of each piece have been normalised, the IX: Keyboard Music (24–27) disposition of the score follows today’s practice. The X: Supplement (28–35) wording of the original titles and score disposition are provided in the Critical Commentary in German. The For every volume of music a Critical original notation for transposing instruments has been Commentary (Kritischer Bericht) in German is retained. C-clefs used in the sources have been replaced available, in which the source situation, variant by modern clefs. Mozart always notated singly readings or Mozart’s corrections are presented and all occurring sixteenth, thirty-second notes etc. crossed- other special problems discussed. through, (i.e. instead of ); the notation Within the volumes and Work Groups the therefore does not distinguish between long or short completed works appear in their order of composition. realisations. The NMA generally renders these in the Sketches, draughts and fragments are placed in an modern notation etc.; if a grace note of this Appendix at the end of the relevant volume. Sketches kind should be interpreted as ″short″ an additional etc. which cannot be assigned to a particular work, but only to a genre or group of works, generally appear in indication ″ ″ is given over the relevant grace note. chronological order at the end of the final volume of Missing slurs at grace notes or grace note groups as the relevant Work Group. Where an identification well as articulation signs on ornamental notes have regarding genre is not possible, the sketches etc. are generally been added without comment. Dynamic published in Series X, Supplement (Work Group 30: markings are rendered in the modern form, e.g. f and p Studies, Sketches, Draughts, Fragments, Various). Lost instead of for: and pia: compositions are mentioned in the relevant Critical The texts of vocal works have been Commentary in German. Works of doubtful adjusted following modern orthography. The realisation authenticity appear in Series X (Work Group 29). of the bass continuo, in small print, is as a rule only Works which are almost certainly spurious have not provided for secco recitatives. For any editorial been included. departures from these guidelines refer to the relevant Foreword and to the Critical Commentary in German. Of the various versions of a work or part of A comprehensive representation of the a work, that version has generally been chosen as the rd basis for editing which is regarded as final and editorial guidelines for the NMA (3 version, 1962) definitive. Previous or alternative forms are reproduced has been published in Editionsrichtlinien musikalischer in the Appendix. Denkmäler und Gesamtausgaben [Editorial Guidelines The NMA uses the numbering of the for Musical Heritage and Complete Editions]. Köchel Catalogue (KV); those numberings which differ Commissioned by the Gesellschaft für Forschung and in the third and expanded edition (KV3 or KV3a) are edited by Georg von Dadelsen, Kassel etc., 1963, pp. given in brackets; occasional differing numberings in 99-129. Offprints of this as well as the Bericht über die the sixth edition (KV6) are indicated. Mitarbeitertagung und Kassel, 29. – 30. 1981, With the exception of work titles, entries in published privately in 1984, can be obtained from the the score margin, dates of composition and the Editorial Board of the NMA. footnotes, all additions and completions in the music The Editorial Board International Mozart Foundation, Online Publications VII New Mozart Edition II/5/2/1-2 La finta semplice FOREWORD Genesis remained only general. That afternoon, the visitors from Salzburg met no important Court personalities involved During the Mozart family's second stay in Vienna with music or theatre in Vienna2. It can be attributed to (September, 1767 to 5 January 1769), the opportunity the general parsimoniousness of the Emperor and "Tout arose for Wolfgang to write an opera for this town, capi- Wien" that during the Carnival of 1768 the dazzling eve- tal of the Empire and official residence of the Royal fam- nings and balls were not given at the cost of the Court – ily. On 15 October, the Mozarts reached Vienna and as had been customary – but in public halls at the cost of stayed with the goldsmith Gottfried Johann Schmalecker the organisers. This meant that only a few renowned vir- in the Weihburggasse. Soon after their arrival, they heard tuosos could be engaged and that the planners of events Johann Adolf Hasse's two-act ‘festa teatrale’ Partenope1 and spectacles were largely out for their own advantage, in the Burgtheater. In October, a misfortune which struck especially as they had to pay the Imperial Court high Vienna did not remain without consequences for the Mo- royalties. zarts; smallpox was rampant. The elder son of the gold- Writing to Lorenz Hagenauer
Load more

Recommended publications
  • Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
    HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer.
    [Show full text]
  • American Spiritual Program Spring 2009
    American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall
    [Show full text]
  • The History of Tourism: Structures on the Path to Modernity by Ueli Gyr
    The History of Tourism: Structures on the Path to Modernity by Ueli Gyr Various academic disciplines have repeatedly sought to re-evaluate the significance of tourism. Globalised tourism's so- cio-economic place within the framework of the leisure and holidaying opportunities on offer today has attracted particu- lar attention. Such accounts often leave out the fact that this also has a history. The present article aims to overcome this shortcoming: it seeks to present an overview of the important structures, processes, types and trends of tourism against the background of historical developments. It deals with early forms of travel in the classical world and the Mid- dle Ages, as well as the precursors of modern tourism, Bildungsreisen ("educational journeys") and the middle-class culture of travel. It then examines the boom in mass tourism in the 19th century and the unique expansion of tourism in the 1960s characterised by new forms of holidaying and experience shaped by globalisation. TABLE OF CONTENTS 1. Tourism as a Globalised System 2. Early Forms of Travel and Types of Journey 3. Precursors of Modern Tourism 4. The Foundations of Modern Tourism 5. The Boom in Mass Tourism in the 19th Century 6. Holidaying Practices in the Interwar Period 7. The Expansion of Tourism and Globalisation 8. Appendix 1. Bibliography 2. Notes Citation Tourism as a Globalised System Tourism is often seen as a global phenomenon with an almost incomprehensibly massive infrastructure. Its importance is evident from the fact that its influence thoroughly penetrates society, politics, culture and, above all, the economy. In- deed, this is the branch of the global economy with the most vigorous growth: the World Tourism Organisation (WTO) estimates that in 2007 it encompassed 903 million tourists who spent 625 billion US dollars.1 They thereby supported a global system with roughly 100 million employees in the modern leisure and experience industry.
    [Show full text]
  • How to Encode Georg Nikolaus Nissen's
    Journal of the Text Encoding Initiative Issue 11 | July 2019 - June 2020 Selected Papers from the 2016 TEI Conference Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger Electronic version URL: http://journals.openedition.org/jtei/2725 DOI: 10.4000/jtei.2725 ISSN: 2162-5603 Publisher TEI Consortium Electronic reference Anja Morgenstern and Agnes Amminger, « Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 », Journal of the Text Encoding Initiative [Online], Issue 11 | July 2019 - June 2020, Online since 16 January 2020, connection on 01 July 2020. URL : http:// journals.openedition.org/jtei/2725 ; DOI : https://doi.org/10.4000/jtei.2725 For this publication a Creative Commons Attribution 4.0 International license has been granted by the author(s) who retain full copyright. Biography as Compilation 1 Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger SVN keywords: $Id: jtei-cc-pn-morgenstern-135-source.xml 914 2020-02-20 09:04:30Z ron $ ABSTRACT The project of editing the early Biographie W. A. Mozart’s (1828) by Georg Nikolaus Nissen (Nissen Online) began as part of the Digital Mozart-Edition (DME) at the Mozarteum Foundation Salzburg. The aim of the edition is to reveal the structure of the text by identifying the diverse sources Nissen relied on when writing the biography. These include primary sources such as original letters and documents from the Mozart family, secondary sources such as contemporary literature about Wolfgang Amadeus Mozart, and original text written by the author and later editors.
    [Show full text]
  • Opera Olimpiade
    OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical.
    [Show full text]
  • Wolfgang Amadeus Mozart
    Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart is probably one of the best composers ever born. But this is not why I decided to speak about him. I decided to speak about Mozart, because I like his music and because I admire him as a person. What do you think, how many works did he write in 35 years of his life??? He left nearly 1000 musical works, including 50 symphonies, 27 piano concerts and seven operas, which are among the best masterpieces of all times. He was born in Salzburg, Austria, on January 27, 1756. He was baptised as JOHANNES CHRYSOSTOMUS WOLFGANGUS THEOPHILUS MOZART. His father was a musician, for this reason Mozart first met music already in the cradle. He was extrordinarily gifted for music. Actualy he was considered a Child genius. In the age of six he was able to perform on piano, violin and organ. He had a remarkable talent for sight-reading and improvisation. When most children learned how to write and read he already wrote five short piano pieces, which have been still frequently performed. In 1762, when Wolfgang was 7 his father took him on the first of many successful concert tours through the courts of Europe. During this period Mozart composed several sonatas, a symphony and many other works. In 1769, when he was only 13, Mozart was appointed as a concertmaster by the archbishop of Salzburg. In the same year he composed his first German operetta, Bastien und Bastienne. At the age of 14 he was commissioned to write a serious opera, Mithridates, King of Pontus, which completely established his already phenomenal reputation.
    [Show full text]
  • WOLFGANG AMADEUS MOZART Works for the Stage
    New Mozart Edition II/6/1 Thamos, King in Egypt WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 6: MUSIC FOR PLAYS, PANTOMIMES AND BALLETS VOLUME 1: CHORUSES AND INTERMEZZI FOR THAMOS, KING IN EGYPT PRESENTED BY HARALD HECKMANN 1956 International Mozart Foundation, Online Publications III New Mozart Edition II/6/1 Thamos, King in Egypt 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 IV New Mozart Edition II/6/1 Thamos, King in Egypt CONTENTS Editorial Principles ……………..…………………………………………………….. VI Foreword………….…………………….……………………………………………… VII Facsimile: Page 1 recto of the autograph (upright format section)……………………… X Facsimile: Page 1 verso of the autograph (upright format section)……………………… XI Facsimile: Page 24 verso of the autograph (oblong format section)…………………….
    [Show full text]
  • WOLFGANG AMADEUS MOZART Works for the Stage
    New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera 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 VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph…………………………..
    [Show full text]
  • Mozart's Operas, Musical Plays & Dramatic Cantatas
    Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.
    [Show full text]
  • 3149028132861.Pdf
    1 HAYDN ET RAGUÉ Enregistré par Little Tribeca à l’Auditorium du Louvre (Paris) en octobre 2018 Direction artistique, montage et mastering : Maximilien Ciup Prise de son : Maximilien Ciup et Gaëtan Juge SACCHINI, GLUCK, LEMOYNE, VOGEL ET GRÉTRY Enregistré par Little Tribeca au Conservatoire Jean-Baptiste Lully (Puteaux) en mars 2019 Direction artistique, montage et mastering : Maximilien Ciup Prise de son : Maximilien Ciup, assisté de Hugo Scremin Production exécutive : Little Tribeca et Les Idées Heureuses Traduction anglaise par Charles Johnston Textes édités en français par Claire Boisteau Photo © Franck Juery · Design © 440.media Sophie Karthäuser participe à cet enregistrement avec l’aimable autorisation d’harmonia mundi. En partenariat avec le Centre de musique baroque de Versailles pour les éditions des partitions de Grétry et Vogel AP210 Little Tribeca · Les Idées Heureuses ℗ & © 2019 [LC] 83780 1 rue Paul-Bert, 93500 Pantin, France apartemusic.com 2 LE CONCERT DE LA LOGE JULIEN CHAUVIN violon et direction SOPHIE KARTHÄUSER soprano 1-4. JOSEPH HAYDN (1732-1809), Symphonie no 87 en la majeur « L’Impatiente », Hob.I:87 Symphony no.87 in A major ‘The Impatient’ I. Vivace 6’31 II. Adagio 6’13 III. Menuet – Trio 3’48 IV. Finale. Vivace 4’14 5. ANTONIO SACCHINI (1730-1786), « C’est votre bonté que j’implore » extrait de/from Chimène ou Le Cid (Chimène) 3’49 6. CHRISTOPH WILLIBALD GLUCK (1714-1787), « Fortune ennemie » extrait de/from Orphée et Eurydice (Eurydice) 4’58 7. JEAN-BAPTISTE LEMOYNE (1751-1796), « Il va venir » extrait de/from Phèdre (Phèdre) 3’06 8. JOHANN CHRISTOPH VOGEL (1756-1788), « Âge d’or, ô bel âge » extrait de/from Démophon (Dircée) 4’44 9.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]