Zur Frage von Kunst, Bildung und Politik und den aktualisierbaren Dimensionen von Ernst Blochs Œuvre unternimmt der Beitrag eine Lektüre von Blochs wenig beachtetem Text „Die Zauberflöte und Symbole ...von heute“ (1930). Der Text wird, philologisch abgesichert, im Erstdruck vor dem zeitgeschichtlichen und musiktheoretisch-philosophischen Hintergrund gelesen, im Rahmen der Debattenbeiträge im Anbruch. Rekonstruiert wird dabei die Bloch‘sche Lektüre- und Aktualisierungsform selbst in Auseinandersetzung mit und Adorno und fragt abschließend nach den Chancen einer Re-Implementierung dieses Denkens in zeitgenössischen Diskurs und Praxis der Kultur- und Sozialwissenschaften.
La investigación musicológica ha venido demostrando en los últimos años que la música instrumental centroeuropea tuvo una amplia diseminación en variados contextos españoles durante la transición del ...siglo XVIII al XIX, como atestigua el caso paradigmático de Joseph Haydn (1732-1809). Sobre la difusión de la música de Wolfgang Amadeus Mozart (1756-1791), estudios recientes han analizado la temprana recepción de algunas de sus obras en diversos espacios españoles. Dentro de este ámbito temático, esta aportación presenta un caso de estudio que aborda el conocimiento de la música de tecla mozartiana por parte de Francisco Olivares (1778-1854), primer organista de la Catedral de Salamanca desde 1804 hasta su muerte. Para ello, se han consultado siete colecciones manuscritas vinculadas con este músico que contienen piezas destinadas para órgano, fechadas aproximadamente entre 1800 y 1820. Mediante el estudio contextual de dichas fuentes y el análisis comparativo de las composiciones mozartianas adaptadas por Olivares con sus correspondientes modelos, en este trabajo se plantean dos objetivos: por un lado, determinar cuáles son los recursos que empleó Olivares para arreglar estas obras y las razones que podrían justificar la aparición de estas modificaciones y, por otro, documentar las funciones que cumplió esta música centroeuropea en sus instituciones de destino. De este modo, se puede confirmar el papel activo que jugó este organista en la recepción de estas piezas, no limitándose a copiarlas, sino adecuándolas para posibilitar su interpretación en los contextos locales donde desarrolló su trayectoria profesional.
This article refers to Zbigniew Raszewski’s findings regarding Wojciech Bogusławski’s acting roles in Lviv productions of the opera Amazonki (Amazons), the first joint work of Boguławski as ...librettist and the composer Józef Elsner. Based on incomplete information from Bogusławski’s Dzieła dramatyczne (Dramas), Raszewski concluded that the librettist played the Greek king Agenor. The analysis of the musical and literary elements of the opera generally confirms this, but it also suggests significant fluctuations in the author’s casting ideas. The aim of the article is to identify Bogusławski’s personal traces in the roles of both Agenor and Strabo. Hypotheses are also put forward regarding the moment in time and the reasons for changing the casting concept. The article expands the research on Bogusławski’s creative biography as an author, actor, and singer, using textual criticism (musical and literary sources), analyzing the cast in light of relevant operatic conventions, and employing analytical and interpretative tools of musicology and literary criticism, as well as comparative studies, to link fragments of the opera with Mozart’s The Magic Flute. An important methodological premise is the hitherto neglected possibility of using musicological tools in research on Bogusławski’s work and creative biography as a man of opera.
The annual summer Salzburg festival is one of the most prestigious and important events in the musical world. Since 1920 the festival has been held in the homeland of W.A. Mozart and serves as an ...indicator of the socio-political life of Europe. The presence of M. Cebotari at this festival as opera and chamber singer had a very special role in her career (which could be subdivided into two periods: pre-war (1931–1932 and 1938–1939) and post-war (1945–1948)) being marked by bright artistic performances that were highly appreciated both by the public and critics. The article presents materials from newspaper reviews that reflect M. Cebotari's interpretation of the parts from the performances played at the festival. These materials, previously unknown to the Moldovan reader, have been translated from the German language by the author. Also, rare photographs from a German archive are included to demonstrate that in the summer of 1943 M. Cebotari met R. Strauss in Salzburg.
For about a decade in the early nineteenth century, the castle of Count Heinrich Wilhelm Haugwitz in Moravian Náměšť nad Oslavou hosted a large number of musical activities centered on Mozart's ...operas. These activities are documented in orchestral scores, manuscript performing materials, and unusually meticulous and detailed financial records. An exploration of the Haugwitz materials associated with La finta giardiniera, Don Giovanni, and La clemenza di Tito shows that due to his historicist and literary interests the Count focused on unusual German adaptations of Mozart's Italian works as well as operas that were not common in regular repertoire of the day. The Haugwitz documents also show that the Count obtained the performing materials not only from Prague and Vienna but probably also from a previously overlooked copyist workshop in Brno.
The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone ...Luigi Bassi (1766–1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi’s portrayal with a study of the opera’s early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today’s stage productions. Incorporating discussion of dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.
Tourette′s syndrome is a clinical condition characterized by multiple motor tics and vocal tics which occurs in the age range 5-25 years and the intensity of the symptoms changes with time. It is ...felt that at least two remarkable personalities namely, Dr. Samuel Johnson from England, a man of letters and the compiler of the first ever English dictionary, and Wolfgang Amadeus Mozart from Austria, one of the greatest musical genius of all time, possibly suffered from this condition. Tourette′s syndrome is often described as the classical borderzone between neurology and psychiatry and every neurologist wonders at the curious and fascinating clinical features of this condition. It seems that at least two remarkable personalities, Dr. Samuel Johnson, a man of letters and the first person to compile an English dictionary, and Wolfgang Amadeus Mozart, arguably the most creative musical composer of all time, were possibly afflicted with this condition.
PDF
