Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750
The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale Armida placata, all performed for the first time in Vienna at the Theater nächst der Burg in 1750, are, as pasticci, quite exceptional for the Viennese opera repertory of the Theresian Age. Their singula...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
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Österreichische Gesellschaft für Musikwissenschaft
2020-11-01
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| Series: | Musicologica Austriaca |
| Subjects: | |
| Online Access: | http://musau.org/parts/neue-article-page/view/91 |
| _version_ | 1818774739191070720 |
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| author | Michele Calella Günter Stummvoll |
| author_facet | Michele Calella Günter Stummvoll |
| author_sort | Michele Calella |
| collection | DOAJ |
| description | The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale Armida placata, all performed for the first time in Vienna at the Theater nächst der Burg in 1750, are, as pasticci, quite exceptional for the Viennese opera repertory of the Theresian Age. Their singularity resides not only in the high number of composers involved, but also in that they are mentioned explicitly at the top of individual vocal numbers in the manuscript scores. In this article we shed new light on the making of these operas by identifying twenty of the borrowed arias, showing how they were not the products of a simultaneous collaboration among all those composers, as early researchers often implied. Their creation was in all probability coordinated by Wagenseil, involved local librettists as well as other composers of the Viennese court, and required a substantial amount of pre-existing music, partly brought to Vienna by some of the singers, probably due to a lack of opera composers in Vienna in 1750 capable of setting entire libretti on their own. |
| first_indexed | 2024-12-18T10:45:56Z |
| format | Article |
| id | doaj.art-c68cef883ed14eae8a2c1c8da9e48b8d |
| institution | Directory Open Access Journal |
| issn | 2411-6696 |
| language | English |
| last_indexed | 2024-12-18T10:45:56Z |
| publishDate | 2020-11-01 |
| publisher | Österreichische Gesellschaft für Musikwissenschaft |
| record_format | Article |
| series | Musicologica Austriaca |
| spelling | doaj.art-c68cef883ed14eae8a2c1c8da9e48b8d2022-12-21T21:10:33ZengÖsterreichische Gesellschaft für MusikwissenschaftMusicologica Austriaca2411-66962020-11-012020Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750Michele Calella0Günter StummvollUniversity of Vienna, Department of Musicology The dramma per musica Andromeda liberata, the favola pastorale Euridice, and the azione teatrale Armida placata, all performed for the first time in Vienna at the Theater nächst der Burg in 1750, are, as pasticci, quite exceptional for the Viennese opera repertory of the Theresian Age. Their singularity resides not only in the high number of composers involved, but also in that they are mentioned explicitly at the top of individual vocal numbers in the manuscript scores. In this article we shed new light on the making of these operas by identifying twenty of the borrowed arias, showing how they were not the products of a simultaneous collaboration among all those composers, as early researchers often implied. Their creation was in all probability coordinated by Wagenseil, involved local librettists as well as other composers of the Viennese court, and required a substantial amount of pre-existing music, partly brought to Vienna by some of the singers, probably due to a lack of opera composers in Vienna in 1750 capable of setting entire libretti on their own.http://musau.org/parts/neue-article-page/view/91175018th centurygirolamo abosariasaustrian national libraryandrea bernasconigiuseppe bonnobaldassare galuppiadolf hasseignaz holzbauerniccolò jommellilibrettioperapasticcioviennageorg christoph wagenseil |
| spellingShingle | Michele Calella Günter Stummvoll Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 Musicologica Austriaca 1750 18th century girolamo abos arias austrian national library andrea bernasconi giuseppe bonno baldassare galuppi adolf hasse ignaz holzbauer niccolò jommelli libretti opera pasticcio vienna georg christoph wagenseil |
| title | Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 |
| title_full | Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 |
| title_fullStr | Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 |
| title_full_unstemmed | Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 |
| title_short | Borrowing, Reworking, and Composing: The Making of the Viennese Pasticci of 1750 |
| title_sort | borrowing reworking and composing the making of the viennese pasticci of 1750 |
| topic | 1750 18th century girolamo abos arias austrian national library andrea bernasconi giuseppe bonno baldassare galuppi adolf hasse ignaz holzbauer niccolò jommelli libretti opera pasticcio vienna georg christoph wagenseil |
| url | http://musau.org/parts/neue-article-page/view/91 |
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