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Diplomarbeit DIPLOMARBEIT Titel der Diplomarbeit „Faszination Falstaff: Shakespeare-Vertonungen vom 18. bis 20.Jahrhundert. Eine literarische und musikalische Betrachtung“ Verfasserin Lisa Veemees angestrebter akademischer Grad Magistra der Philosophie (Mag. phil) Wien, September 2009 Studienkennzahl lt. Studienblatt: A 393 Studienrichtung lt. Studienblatt: Vergleichende Literaturwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Norbert Bachleitner Danksagung An dieser Stelle möchte ich mich bei Prof. Norbert Bachleitner für die Betreuung dieser Arbeit bedanken, bei meinen Eltern für die finanzielle und seelische Unterstützung, bei meiner Schwester Kristina für viele gute Tipps, und bei meinen Freunden für ihre Motivation. Für Informationen und Hilfe danke ich weiters Neil Jarvis (English National Opera), Karen Fletcher (Ralph Vaughan Williams Society), Victoria Small (Chester Music/ Novello & Co) sowie Khol Dieu, Iain MacKinlay und Miriam Higgins (Oxford University Press). INHALTSVERZEICHNIS I. EINLEITENDER TEIL ....................................................................................... 5 1. EINLEITUNG.......................................................................................................... 5 1.1. Vorwort............................................................................................................. 5 1.2. Zur Auswahl der Werke.................................................................................... 5 1.3. Aufbau und Methode der Arbeit ....................................................................... 6 1.4. Quellenlage...................................................................................................... 7 2. REZEPTIONSGESCHICHTE ................................................................................. 9 2.1. Zur Shakespeare-Rezeption ............................................................................ 9 2.2. Shakespeare und die Musik – Überblick ........................................................ 12 2.3. Falstaff-Vertonungen in chronologischer Reihenfolge.................................... 15 3. ZU SHAKESPEARES THE MERRY WIVES OF WINDSOR UND HENRY IV ..... 19 3.1. HENRY IV ........................................................................................................ 19 3.2. THE MERRY WIVES OF WINDSOR ....................................................................... 22 3.3. Wissenschaftliche Positionen zu Falstaff ....................................................... 26 3.4. Einige Punkte zu Falstaffs Charakter............................................................. 29 3.5. Was Kritiker über Sir John aus THE MERRY WIVES sagen............................... 32 4. DIE AUSDRUCKSMÖGLICHKEITEN DER MUSIK............................................. 35 4.1. Das Libretto.................................................................................................... 35 4.2. Zum Verhältnis von Text und Musik............................................................... 35 4.3. Arie & Rezitativ............................................................................................... 36 4.4. Die Entwicklung des Orchesters .................................................................... 37 4.5. Tonarten......................................................................................................... 39 4.6. Intervalle ........................................................................................................ 41 4.7. Tempo, Spielweise, Dynamik, Formen........................................................... 42 II. ANALYSE DER WERKE .............................................................................. 43 1. ANTONIO SALIERI, FALSTAFF OVVERO LE TRE BURLE , 1799 .................... 43 1.1. Der Beginn der eigentlichen musikalischen Falstaff-Rezeption ..................... 43 1.2. Zur Handlung ................................................................................................. 44 1.3. Aufbau der Oper............................................................................................. 45 1.4. Die Umsetzung der Handlung ........................................................................ 46 1.5. Zu den Figuren............................................................................................... 47 1.6. Falstaff: selbstbewusst und siegessicher ....................................................... 47 1.7. Wie „shakespearehaft“ ist Salieris Falstaff ? ................................................... 48 1 1.8. Zur Musik ....................................................................................................... 48 1.9. Die musikalische Gestaltung der Falstaff-Szenen.......................................... 49 1.10. Welchen Beitrag leistet die Musik? .............................................................. 55 1.11. Wie wird Falstaff musikalisch umgesetzt?.................................................... 56 1.12. Salieris Zugang zu THE MERRY WIVES und sein Falstaff-Bild........................ 56 1.13. Erfolg des Werkes........................................................................................ 57 2. OTTO NICOLAI, DIE LUSTIGEN WEIBER VON WINDSOR , 1849..................... 58 2.1. Zur Entstehung............................................................................................... 58 2.2. Zur Handlung ................................................................................................. 58 2.3. Aufbau der Oper............................................................................................. 60 2.4. Zu den Figuren............................................................................................... 61 2.5. Falstaff: typenhaft........................................................................................... 61 2.6. Wie „shakespearehaft“ sind Die Lustigen Weiber von Windsor ? ................... 63 2.7. Allgemeines zur Musik ................................................................................... 63 2.8. Die musikalische Gestaltung der Falstaff-Szenen.......................................... 64 2.9. Welchen Beitrag leistet die Musik? ................................................................ 69 2.10. Wie wird Falstaff musikalisch umgesetzt?.................................................... 70 2.11. Nicolais Zugang zu THE MERRY WIVES und sein Falstaff-Bild....................... 70 2.12. Erfolg des Werkes........................................................................................ 71 3. AMBROISE THOMAS, LE SONGE D’UNE NUIT D’ETE , 1850 .......................... 72 3.1. Einleitung ....................................................................................................... 72 3.2. Unbewusste Modernität ................................................................................. 72 3.3. Anklänge an THE MERRY WIVES ...................................................................... 74 3.4. „Le héros de la gaité“ - Welches Falstaff-Bild wird präsentiert? ..................... 75 3.5. Musik.............................................................................................................. 76 3.6. Die musikalische Gestaltung der Falstaff-Szenen.......................................... 77 3.7. Welchen Beitrag leistet die Musik? ................................................................ 78 4. GIUSEPPE VERDI, FALSTAFF , 1893................................................................. 79 4.1. Allgemeines.................................................................................................... 79 4.2. Handlung und Aufbau .................................................................................... 79 4.3. Zu den Figuren............................................................................................... 81 4.4. Falstaff: „Son io che vi fa scaltri“ .................................................................... 83 4.5. Wie „shakespearehaft“ ist Verdis Falstaff ?..................................................... 84 4.6. Allgemeines zur Musik ................................................................................... 85 4.7. Die musikalische Gestaltung der Falstaff-Szenen.......................................... 85 4.8. Welchen Beitrag leistet die Musik? ................................................................ 91 4.9. Wie wird Falstaff musikalisch umgesetzt?...................................................... 92 4.10. Verdis Zugang zu THE MERRY WIVES und sein Falstaff-Bild ......................... 92 4.11. Erfolg des Werkes........................................................................................ 93 2 EXKURS: EDWARD ELGAR, FALSTAFF. A SYMPHONIC STUDY , 1913 ............ 94 Zur Gestaltung der Musik...................................................................................... 95 Elgar, Holst und Vaughan Williams....................................................................... 97 5. GUSTAV HOLST, AT THE BOAR’S HEAD , 1924............................................... 98 5.1. Holsts Opernschaffen..................................................................................... 98 5.2. Handlung und Aufbau .................................................................................... 98 5.3. At The Boar’s Head im Vergleich mit HENRY IV: Handlung & Figuren. Wie „shakespearehaft“ ist die Oper?.......................................................................... 100 5.4. Holst und die englischen Volkslieder...........................................................
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