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Pietro Antonio Metastasios Azione Teatrale, La Pace Fra La Virtù E La Bellezza in Vertonungen Für Den Wiener Hof Von Luca Antonio Predieri Und Antonio Bioni”

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Pietro Antonio Metastasios Azione Teatrale, La Pace Fra La Virtù E La Bellezza in Vertonungen Für Den Wiener Hof Von Luca Antonio Predieri Und Antonio Bioni” DIPLOMARBEIT Titel der Diplomarbeit „Pietro Antonio Metastasios Azione teatrale, La pace fra la virtù e la bellezza in Vertonungen für den Wiener Hof von Luca Antonio Predieri und Antonio Bioni” Verfasserin Hanna Schodterer angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuer: Prof. Dr. Reinhard Strohm Vorwort Diese Diplomarbeit wurde am Institut für Musikwissenschaft der Universität Wien auf Anregung von Herrn Prof. Dr. Reinhard Strohm durchgeführt. Ihm gebührt mein Dank für die wissenschaftliche Betreuung der Arbeit, die durch die große räumliche Distanz zwischen Oxford und Wien mit zusätzlicher Mühe verbunden war. Besonders bedanken möchte ich mich auch für die vielen gründlichen Gespräche, Hilfestellungen und die konstruktive Kritik. Gedankt sei weiters Frau Mag. Dr. Andrea Sommer-Mathis und Frau Mag. Dr. Claudia Michels für die freundliche Unterstützung und Ermutigung. Herrn em. o. Univ.-Prof. Dr. Gernot Gruber möchte ich für die fachlichen Diskussionen und Anregungen danken. Den Mitarbeitern der Musiksammlung der Österreichischen Nationalbibliothek, sowie des Archivs der Gesellschaft für Musikfreunde danke ich für die Bereitstellung der Partituren und das freundliche Entgegenkommen. Ebenso bedanke ich mich bei den Mitarbeitern des Haus-, Hof- und Staatsarchivs und des Wiener Stadt- und Landesarchivs für die wohlwollende Unterstützung und die wertvollen Informationen. Meinen Eltern, die mir mit ihrer Freude an Musik immer Vorbild waren, bin ich besonders dankbar. Sie haben mich durch gemeinsames Reflektieren das Hinterfragen und Analysieren gelehrt und mir in zahllosen Gesprächen den Blick für die Dinge unter der Oberfläche geöffnet. Inhaltsverzeichnis Einleitung ................................................................................................................................... - 1 - 1. Tradition und Funktion der Serenata am Wiener Hof ............................................................ - 4 - 1.1. Höfische Feste und deren Zeremoniell ............................................................................ - 4 - 1.1.1. Hoffest in der Epoche Karls VI. ............................................................................... - 4 - 1.1.2. Das Hofzeremoniell und dessen Auswirkungen auf Hoffeste ................................. - 6 - 1.1.3. Der Namenstag Maria Theresias: Wertigkeit des Aufführungsanlasses von La pace fra la virtù e la bellezza .................................................................................................... - 12 - 1.1.4. Aufführungstradition und Funktion der Serenata bei Hoffesten ............................ - 13 - 1.2. Unabhängige Repräsentation des Adels ........................................................................ - 14 - 1.3. Die Gattung und deren Poetik ....................................................................................... - 17 - 1.3.1. Erklärung der verwendeten Gattungsbezeichnungen ............................................. - 17 - 1.3.2. Beschreibung der Gattung anhand der zeitgenössischen Gattungspoetik .............. - 21 - 1.3.3. Contesa – Anlage der Serenata als Debatte oder Streitgespräch – und ihre Nähe zum Opernprolog ..................................................................................................................... - 51 - 1.3.4. Wiederaufführungen und Verbreitung ................................................................... - 53 - 2. Metastasios Libretto ............................................................................................................. - 55 - 2.1. Auftrag an Metastasio – Biographische Einordnung .................................................... - 55 - 2.2. Betrachtung und Klassifizierung des Inhalts ................................................................. - 58 - 2.2.1. Stoffgeschichte: das Urteil des Paris in Oper und Serenata .................................. - 58 - 2.2.2. Mythologische Vorgeschichte und Inhalt von La pace fra la virtù e la bellezza ... - 62 - 2.2.3. Folgevertonungen ................................................................................................... - 63 - 2.2.4. Figurenanalyse ....................................................................................................... - 64 - 2.2.5. Contesa: Rechtsstreit als Librettoform ................................................................... - 74 - 2.2.6. Huldigungscharakter .............................................................................................. - 75 - 3. Aufführungssituationen der Werke von Bioni und Predieri ................................................. - 82 - 3.1. Predieri .......................................................................................................................... - 82 - 3.1.1. Biographische Einordnung und Umstände der Vertonung .................................... - 82 - 3.1.2. Aufführung ............................................................................................................. - 86 - 3.1.3. Sänger und Sängerinnen ......................................................................................... - 90 - 3.2. Bioni .............................................................................................................................. - 94 - 3.2.1. Biographische Einordnung und Umstände der Vertonung .................................... - 94 - 3.2.2. Aufführung ............................................................................................................. - 96 - 3.2.3. Sängerinnen .......................................................................................................... - 101 - 4. Die Vertonung Bionis im Vergleich mit Predieris Version ............................................... - 107 - 4.1. Quellensituation der Partituren .................................................................................... - 107 - Predieri ........................................................................................................................... - 107 - Bioni ............................................................................................................................... - 108 - 4.2. Besonderheiten in der Musik: Bemerkungen zur Stilistik der beiden Komponisten .. - 111 - 4.2.1. Allgemeines und Orchesterbehandlung ............................................................... - 111 - 4.2.2. Dramatischer Textausdruck ................................................................................. - 115 - 4.2.3. Höfisches versus städtisches Publikum und dessen Geschmack ......................... - 116 - 4.3. Aufbau und Anlage der Werke beider Komponisten .................................................. - 116 - Predieri ........................................................................................................................... - 116 - Bioni ............................................................................................................................... - 118 - Tonartenvergleich .......................................................................................................... - 118 - 4.4. Textabweichungen vom Libretto Metastasios ............................................................ - 119 - 4.5. Musikalische Charakterisierung der Figuren bei Bioni .............................................. - 121 - 4.6. Die drei Gleichnisarien im Vergleich zwischen Bioni und Predieri ........................... - 144 - Gleichnisarien als emblematische Dichtung und Tonmalerei ........................................ - 144 - 12. „Così fra doppio vento“ Aria - Marte ...................................................................... - 146 - 16. „Odi l’aura“ à 2 Voci – Venere, Pallade .................................................................. - 152 - 20. „Sublime si vegga“ Aria – Venere ........................................................................... - 157 - 5. Resümee ............................................................................................................................. - 163 - 6. Bibliographie und Quellenverzeichnis ............................................................................... - 165 - 6.1. Literaturangaben ......................................................................................................... - 165 - 6.2. Quellen ........................................................................................................................ - 172 - 6.3. Abbildungsverzeichnis ................................................................................................ - 174 - 7. Anhang ............................................................................................................................... - 175 - 7.1. Text und Übersetzung des Librettos ........................................................................... - 175 - 7.2. Edition der drei Gleichnisarien Bionis ........................................................................ - 184 - 7.3. Kritischer Bericht zur Edition ..................................................................................... - 221 - 8. Abstract .............................................................................................................................. - 223 - 8.1. Deutsch ........................................................................................................................ - 223 - 8.2. English .......................................................................................................................
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