Spring 2000 Forum on Austrian Government and EU Draws Overflow Crowd by Daniel Pinkerton
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Der Stein Der Weisen and Die Zauberflöte
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means. -
The House Composers of the Theater Auf Der Wieden in the Time of Mozart (1789-91)1
The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)1 DAVID J. BUCH Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years 1789 to 1801. Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July 1789, Emanuel Schikaneder produced one successful singspiel after another. The most successful of these were quickly staged in other European venues, both in the original German and in translation.2 Yet, until recently, we have known only a single opera from that period, Mozart’s Die Zauberflöte. Because scholars have not studied this repertory,3 a myth of singularity for Mozart’s singspiel has dominated the secondary literature. But Mozart’s opera was in fact the fourth in a series of fairy-tale singspiels based on texts associated with Christoph Martin Wieland. And the music of Mozart’s singspiel is firmly rooted in a unique style developed at the theater by a group of talented composers who interacted with Mozart, both learning from the master and influencing him in turn. Another myth about this theater has also persisted in modern literature, namely, that the music was of an inferior quality and that the performances were rather crude. While there is one derisive review of a performance at the Theater auf der Wieden by a north German commentator in 1793,4 most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr, Hoffmeister etc., writing that they were performed with rare skill (ungemein artig). -
The Magic Flute
The Magic Flute Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .13 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Wolfgang Amadeus Mozart – a biography ......................49 Catalogue of Mozart’s Operas . .51 Background Notes . .53 Emanuel Schikaneder, Mozart and the Masons . .57 World Events in 1791 ....................................63 History of Opera ........................................66 2003 – 2004 SEASON History of Minnesota Opera, Repertoire . .77 The Standard Repertory ...................................81 Elements of Opera .......................................82 Glossary of Opera Terms ..................................86 GIUSEPPE VERDI NOVEMBER 15 – 23, 2003 Glossary of Musical Terms .................................92 Bibliography, Discography, Videography . .95 Word Search, Crossword Puzzle . .98 GAETANO DONIZETTI JANUARY 24 – FEBRUARY 1, 2004 Evaluation . .101 Acknowledgements . .102 STEPHEN SONDHEIM FEBRUARY 28 – MARCH 6, 2004 mnopera.org WOLFGANG AMADEUS MOZART MAY 15 – 23, 2004 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. -
Swr2-Musikstunde-20120920.Pdf
___________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Donnerstag, 20. 9. 2012 „Hölzerne Worte, magische Bretter: Emanuel Schikaneder zum 200. Todestag“ (4) MUSIK: INDIKATIV, NACH CA. ... SEC AUSBLENDEN Emanuel Schikaneders Werkverzeichnis liest sich wie ein deutscher Zeitschriftenladen: „Der Spiegel von Arkadien“, „Der Stern aus Samarkand“, „Die Zeit der Weisen“ - fehlt eigentlich nur noch „Die Bunte von Bethlehem“. Schikaneder hat mit vielen Komponisten zusammengearbeitet, darunter auch mit sich selbst. Alle sind heute vergessen, außer Mozart natürlich. Mit dem jungen Beethoven plante der Prinzipal „Vestas Feuer“, einmal mehr eine raunend-mystische Zauberoper mit komischen Einlagen; aber was Mozart noch inspirierte, sagte dem knorrig-pragmatischen Beethoven nur Bahnhof: Er fing zwar an zu komponieren, brach dann aber ab; und schlug sich lieber später mit der Menschengeschichte „Eleonore“ beziehungsweise „Fidelio“ herum, ganz ohne magisches Tralala. So wurde, nach Mozarts Tod 1791, dessen Schüler und Assistent Franz Xaver Süßmayr zu Schikaneders Hauskomponisten – da bekam dieser immer noch einen Hauch von Mozart, aber nicht dessen mitunter schwer erträgliches Genie. Süßmayr soll im Hause Mozart wirklich „Männchen für alles“ gewesen sein, außer Kompositionsschüler des Meisters: Er kopierte Stimmen, verwaltete sekretarial die Geschäfte des kränkelnden Mozart, blätterte ihm die Noten um, als er in der „Zauberflöte“ das Hammerclavier schlug, und komponierte auf Bitten von Constanze Mozart das Requiem zu Ende, nachdem der alte Hexenmeister verschieden war. Angeblich soll der 25-jährige Süßmayr Constanze auch als Lustknabe gedient haben, aber das ist mehr als zweifelhaft. Gesichert ist, dass Schikaneder sich den Ersatz-Mozart für sein Bibel-Panorama „Moses oder Der Auszug aus Ägypten“ krallte, und danach für den „Spiegel von Arkadien“, erneut ein Potpourri mit Zaubertränken, Opferritualen, Liebesverwirrungen, ausweglosen Situationen und natürlich Happy- End. -
Mozart's Bawdy Canons, Vulgarity and Debauchery at the Wiednertheater
Eighteenth-Century Music 13/2, 1–26 © Cambridge University Press, 2016 doi:10.1017/S1478570616000087 mozart’s bawdy canons, vulgarity and 1 debauchery at the wiednertheater 2 Q1 david j. buch 3 ! 4 ABSTRACT 5 Mozart’s bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a 6 personality given to crass expression. Moreover, his association with Emanuel Schikaneder’s supposedly dissolute 7 Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of 8 his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, 9 originating after Mozart’s death and embellished in nineteenth-century commentary and scholarship. Examples 10 of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf 11 der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their 12 social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in 13 Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, 14 that Mozart’s use of scatalogical language was relatively mild for the time and that accounts of the composer’s 15 debauchery in his last years have little evidentiary basis. 16 ! Milos Forman’s 1984 film Amadeus presents a striking picture of Mozart in Emanuel Schikaneder’s theatrical 16 circle at the Freihaus auf der Wieden, a depiction that has been accepted to a degree in some academic 17 commentary.1 The company appears as a lusty troupe of young actors, musicians and circus-like performers 18 regularly indulging in bacchanals. -
1999 MSA Study Session Guest Column: Robert L
1999 MSA Study Session Guest Column: Robert L. Marshall The annual meeting of the Mozart Reminiscences de Don Juan Music and Art as a piano major and chose Society of America will once again take and other Mozartiana the hom as my obligatory second instru place at the fall American Musicological ment. I soon arranged to take private hom Society meeting, this year in Kansas In Nannerl Mozart's memoirs one of the lessons with a young man named Gunther City. The Program Committee now anecdotes about her brother's early Schuller, who played first hom at the solicits proposals for presentations at the activities as a composer involves his Metropolitan Opera. I was serious enough study session, which will follow the brief relationship to the hom. She writes: "In to want to get my own instrument-rather business meeting. We welcome abstracts London, where our father lay dangerously than have to cope with the battered dealing with any aspect of Mozart's life ill, we were forbidden to touch a piano. government-issue items put at my disposal and work, or with a later-eighteenth And so, in order to occupy himself, Mozart by the City of New York-and agreed to century context that can illuminate that composed his first symphony for all the purchase a hom from my teacher. I took work. Presenters need not be members instruments of the orchestra, but especially possession of the instrument on an evening of the Society. for trumpets and kettledrums .... While he in the spring of 1954, backstage at the Met A leading aim of our Society is to composed and I copied, he said to me: just before a performance of Don Giovanni. -
Newslet T Er
6767 7 6 s s 6 s CIETY . O s 7 Ss F 7 . O s Cs R I 6 S . 6 s E U s I 7 G M s 7 s H . SECM 6 T Y s s 6 R E 7 E U s s N T 7 T N NEWSLETTER E s H s - C s s 6 6 7 7 6 6 7 ISSUE NO. 12 APRIL 2008 Conference Report: Celebrating Pleyel cert was presented under the auspices of the IPG by the Wiener Concert-Verein, a chamber orchestra whose members are drawn Allan Badley from the Vienna Symphony Orchestra, under the musical direc- Composer anniversaries inevitably give rise to performances tion of Christian Birnbaum. The Festival Concert opened very ap- both good and bad. In Mozart’s case, 2006 saw an unprecedented propriately with a symphony by the first of Pleyel’s two important number of performances of his works around the globe; some of teachers, Johann Baptist Wanhal. The power and concentration of these were of the highest imaginable artistic standard while many Wanhal’s remarkable Symphony in C minor (Bryan c2) served to more had little to recommend them beyond the devotion and en- remind the audience—if indeed it needed reminding—of the im- thusiasm of the performers. Although the Mozart fever has abated mense richness and vitality of the musical world in which Pleyel somewhat, we can be more than confident that his works will con- moved, and, by inference, of the dangers inherent in viewing his tinue to be played in the years ahead. -
Emanuel Schikaneder Der Mann Für Mozart
Unverkäufliche Leseprobe Eva Gesine Baur Emanuel Schikaneder Der Mann für Mozart 464 Seiten, Gebunden ISBN: 978-3-406-63086-6 Weitere Informationen finden Sie hier: http://www.chbeck.de/9329189 © Verlag C.H.Beck oHG, München I. Wien 1812 Begräbnis dritter Klasse Begräbnis dritterWien Klasse 1812 Emanuel Schikaneders Profi l: Johann Hieronymus Löschenkohl hielt es in dieser Silhouette fest. Mit schnell produzierbaren Porträts der Wiener Prominenz, Szenen des aktuellen Geschehens und des täglichen Lebens wurde Löschenkohl ein vermögender Mann. Er fertigte auch von Mozart, mit dem er 1782 im selben Haus am Kohlmarkt wohnte, einen solchen Schattenriss an. Wien 1812 tarr hockt er in diesem Sommer 1812 in einem dunklen Zimmer S im Wiener Alsergrund. Es hat sich in der Stadt herumgespro- chen, dass mit Schikaneder nichts mehr anzufangen sei. «Tiefsinnig» nennen höfl iche Menschen seinen Zustand. Andere reden von Ner- venschwäche, Geistesverwirrtheit, Irresein oder Wahnsinn. Trotzdem bekommt er Besuch. Nicht nur von seinem Neffen Carl. Der ist seit letztem Jahr wieder in Wien engagiert, am Leopoldstädter Theater, verdankt seinem Onkel einiges und betont, zwei Drittel sei- nes Lebens unter dessen Augen verbracht zu haben. Denn noch gibt es einige in Wien, die sich daran erinnern, dass kein anderer Schau- spieler in Wien jemals so beliebt gewesen war wie Emanuel Schi- kaneder in seinen guten Jahren. Die erlebt haben, wie seine Spektakel die Menschen in Massen hinaus auf die Wieden lockten, sogar solche, die nie zuvor ein Theater betreten hatten. Noch können viele bezeu- gen, dass sie schon vier, fünf Stunden vor Beginn einer Aufführung auf den harten Sitzen des Theaters gesessen hatten, um noch einen guten Platz zu ergattern. -
Mozart's Operas
Topics in Operatic Literature: Mozart’s Operas MUHL-M407 (2 credits) / MUHL-M807 (3 credits) Spring semester 2021 Class meetings Tuesdays and Thursdays, 9:30-10:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details. Prerequisites MUTH M203 (Theory IV) and MUHL M307 (Music History II), or permission of instructor Brief course overview This is a seminar-style study of a single topic in the history of opera. Course may be repeated for credit, as long as topic is different. (University Bulletin) This semester we will be focusing on the operas of Wolfgang Amadeus Mozart. His mature works (especially the three on which he collaborated with Lorenzo da Ponte) are the first operas to be continually in the performing repertory. We will examine these works in terms of the musical and dramatic conventions of their own time and their reception history. Course objectives By the end of the semester, students should be able (among other things) to: • explain the basic generic and stylistic features of classical opera seria, opera buffa, and Singspiel • explain how Mozart’s seven mature operas both use and play with the conventions of their genres • consider the cultural issues may arise in performing those operas today, given the different values and expectations of audiences in Mozart’s time and ours Students should also become more comfortable reading scholarly literature in music and using basic tools of scholarly research (such as Grove Music Online and RILM), developing skills they can use in other settings. -
Tanz-Signale 2019
Tanz-Signale 2019 Die Geburt der Wiener Operette: musikalische und historische Wurzeln Freitag, 15. März 2019 10.00 — 13.00 Uhr Ein Projekt des Instituts für Wissenschaft und Forschung der MUK in Kooperation mit dem Wiener Institut für Strauss-Forschung (WISF). Vivaldi-Saal (ÖJAB-Haus) Johannesgasse 8 1010 Wien ABLAUF 10.00 Uhr: Begrüßung durch Univ.-Prof.in Dr.in Susana Zapke (Vorstand Institut für Wissenschaft und Forschung) 10.15 — 11.00 Uhr: Podiumsgespräch zum 200. Geburtstag von Franz von Suppè mit Prof. Hans-Dieter Roser und Univ.-Prof. Dr. Stefan Schmidl Moderation: Univ.-Prof.in Dr.in Susana Zapke 11.15 Uhr: Vortrag Vom Alt-Wiener Singspiel zur Wiener Operette. Vom „komponierenden Kaiser“ bis zum „Walzerkönig“. Musikalische Unterhaltungstheater in Wien seit 1680 von Univ.-Prof. Wolfgang Dosch 12.00 Uhr: Gesprächskonzert Vom Wiener Singspiel zur Wiener Operette mit Studierenden des Universitätslehrgangs Klassische Operette (Leitung: Wolfgang Dosch) Moderation: Univ.-Prof. Wolfgang Dosch 2 PROGRAMM GESPRÄCHSKONZERT VOM WIENER SINGSPIEL ZUR WIENER OPERETTE 1777 eröffnete Kaiser Joseph II. mitDie Bergknappen von Stefanie d. Jüngeren und Ignaz Umlauf das Deutsche Singspieltheater. Die Wiener Vorstadttheater stürzten sich auf die neue Kunstform und gaben ihr ab den 1780er Jahren ihre volkstümliche Note. Vor allem das Leopoldstädter Theater und sein Hauskapellmeister Wenzel Müller, aber auch das Josef- städter Theater und das Wiedner Theater brachten monatlich neue Zauberstücke, Possen, Allegorien und andere faszinierende romantische, parodistische, märchenhafte Werke mit Dialog, Gesang, Tanz und zumeist mit Musik in Tanzrhythmen, die die Entwicklung des wienerischen musikalischen Volkstheaters zur Wiener Operette anschaulich machen. 1788 bezeichnete Ditters von Dittersdorf sein Das rote Käppchen vermutlich erstmals als Operette.