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The Vienna Don Giovanni /
In the year following its 1787 Prague première, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original ar...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Woodbridge [U.K.] :
Boydell Press,
[2010].
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| Colección: | JSTOR EBA.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Woodfield, Ian, |e author. | |
| 245 | 1 | 4 | |a The Vienna Don Giovanni / |c Ian Woodfield. |
| 264 | 1 | |a Woodbridge [U.K.] : |b Boydell Press, |c [2010]. | |
| 264 | 4 | |c ©2010 | |
| 300 | |a 1 online resource (xvii, 214 pages) : |b illustrations, music | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a In the year following its 1787 Prague première, Don Giovanni was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original arias but inserting three newly-composed pieces. The dilemma faced by musicians and scholars ever since has been whether to preserve the opera in these two 'authentic' forms, or whether to fashion a hybrid text incorporating the best of both. This study presents new evidence about the Vienna form of the opera, based on the examination of late eighteenth-century manuscript copies. The Prague Conservatory score is identified as the primary exemplar for the Viennese dissemination of Don Giovanni , which is shown to incorporate two quite distinct versions, represented by the performing materials in Vienna [O.A.361] and the early Lausch commercial copy in Florence. To account for this phenomenon, seen also in early sources of the Prague Don Giovanni and Cosìfan tutte , a general theory of transmission for the Mozart Da Ponte operas is proposed, which clarifies the relationship between the fluid text produced by re-creation (performing) and the static text generated by replication (copying). Aspects of the compositional history of Don Giovanni are uncovered. Evidence to suggest that Mozart first considered an order in which Donna Elvira's scena precedes the comic duet 'Per queste tue manine' is assessed. The essential truth of Da Ponte's account - that the revision of the opera in Vienna was an interactive process, involving the views of performers, the reactions of audiences and the composer's responses - seems to be fully borne out. The final part of the study investigates the late eighteenth-century transmission of Don Giovanni . The idea that hybrid versions gained currency only in the nineteenth century or in the lighter Singspiel tradition is challenged. IAN WOODFIELD is Professor and Director of Research at the School of Music and Sonic Arts, Queen's University Belfast. | ||
| 505 | 0 | |a Frontcover; CONTENTS; LIST OF ILLUSTRATIONS; LIST OF TABLES; PREFACE; A NOTE ON THE USE OF THE TERM 'SCORE'; GLOSSARY; ABBREVIATIONS; PLOT SUMMARY; CASTS OF THE FIRST PERFORMANCES; Introduction; [ 1 ] The Prague Don Giovanni; A possible cut; Prague musical fingerprints; Errors; [ 2 ] The Vienna Don Giovanni; The Graz score; The Court Theatre score (O.A.361/1); The Court Theatre parts (O.A.361/Stimmen); Later copies deriving from the Court Theatre score; The Casting of the Vienna Don Giovanni; The full version (Vienna 1); An intermediate version?; The 'final' versions Vienna 2a and Vienna 2b | |
| 505 | 8 | |a Da Ponte's story[ 3 ] The Late-Eighteenth-Century Dissemination of Don Giovanni; Guardasoni's performances of Don Giovanni in 1788 and 1789; The reception of the Vienna music in 1790s Prague; The 1798 Vienna revival; The autograph of Don Giovanni after Mozart's death; The Breitkopf & Härtel full score; Later manuscripts based on the Breitkopf & Härtel score; Conclusion; A theory of transmission; Summary; APPENDIX 1. Error transmission; 1.1 A selection of Set A Prague errors; 1.2 A selection of Set B Prague errors; 1.3 A selection of readings in O.A.361/1 differing from the autograph | |
| 505 | 8 | |a 1.4 A selection of errors in O.A.361/1 deriving from the Prague Conservatory score1.5 A selection of errors in O.A.361/1; APPENDIX 2. Page-break analysis; 2.1 Prague Version; 2.2 Vienna 2a version (Lausch score); 2.3 Vienna 2a version (Juilliard score); 2.4 Vienna 2b version; 2.5 Graz score; NOTES; BIBLIOGRAPHY; INDEX; Backcover | |
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
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| 600 | 1 | 0 | |a Mozart, Wolfgang Amadeus, |d 1756-1791. |t Don Giovanni. |
| 600 | 0 | 0 | |a Juan, |c Don (Legendary character) |x Drama |x History and criticism. |
| 600 | 0 | 7 | |a Juan, |c Don (Legendary character) |2 fast |
| 630 | 0 | 7 | |a Don Giovanni (Mozart, Wolfgang Amadeus) |2 fast |
| 600 | 1 | 7 | |a Mozart, Wolfgang Amadeus |d 1756-1791 |t Don Giovanni |2 gnd |
| 630 | 0 | 7 | |a Don Giovanni. |2 swd |
| 650 | 0 | |a Opera |z Austria |z Vienna. | |
| 650 | 7 | |a MUSIC |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a Drama |2 fast | |
| 650 | 7 | |a Opera |2 fast | |
| 651 | 7 | |a Austria |z Vienna |2 fast | |
| 650 | 7 | |a Aufführung |2 gnd | |
| 651 | 7 | |a Wien |2 gnd | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Woodfield, Ian. |t Vienna Don Giovanni. |d Woodbridge [U.K.] : Boydell Press, 2010 |w (DLC) 2010563659 |
| 830 | 0 | |a JSTOR EBA. | |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.7722/j.ctt14brvt8 |z Texto completo |
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