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Quodlibets of the Viennese Theater

Quodlibets of the Viennese Theater
Edited by Lisa Feurzeig, John Sienicke
N047
Quodlibets of the Viennese Theater
Full Score (2008)
978-0-89579-623-3
9x12, xxv + 321 pp.

Availability: In stock

$245.00
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The quodlibet genre was significant in Viennese theater during the first quarter of the nineteenth century. Quodlibets are important for two reasons: they reflect the ironic intertextuality of Viennese life, and they present a cross-section of music of many genres and styles that was most familiar to the theatergoing audience. This edition includes three works—Die travestierte Ariadne auf Naxos (ca. 1799), a one-act melodrama with spoken and sung sections, Rochus Pumpernickel (1809), a three-act play with musical numbers, and "Das beliebte Quodlibet" from Der Eheteufel auf Reisen (1821), a medley—that represent different times and styles, tracing the history of the genre. Ariadne auf Naxos, a parody of the 1775 Brandes/Benda melodrama, borrows the original text almost completely, but replaces Benda’s music with comical melodies drawn from the Vienna Volkstheater and adds a happy ending. Rochus Pumpernickel, with a story based on Molière and twenty-seven musical numbers, was the most successful of all the full-length quodlibet plays; the high-brow periodical Der Sammler paid it the back-handed compliment of saying that its author "writes for the box office, not for immortality." With music ranging from Mozart and Haydn to Méhul, Salieri, Weigl, Wenzel Müller, and anonymous folksong, it offers a rich assortment of material familiar and unfamiliar to modern scholars. Dance music plays a significant role, so this play also opens a window on the Viennese dance world. The medley "Das beliebte Quodlibet" combines opera, folksong, and Tyrolerlied into a quasi-political jab at the police state. The edition provides literal English translations of all the texts, and the two full-length works also include performable translations underlaid in the music. An extensive commentary section identifies musical sources and discusses how pieces are reinterpreted in their new contexts.
Die travestierte Ariadne auf Naxos
Ouverture
Theseus Section
Ariadne Section
Ensemble Section
 
Rochus Pumpernickel
Erster Ackt
  Ouverture, from a march by François-Joseph Naderman and Don Giovanni by Wolfgang Amadeus Mozart
  No. 1. Aria, from La molinara (L’amor contrastato) by Giovanni Paisiello
  No. 2. Duetto, from Doktor und Apotheker by Carl Ditters von Dittersdorf
  No. 3. Duetto, substitute duet by Johann Michael Vogl
  No. 4. Aria, from Der Tyroler Wastel by Jakob Haibel
  No. 5. Aria, from Una cosa rara by Vicente Martín y Soler
  No. 6. Marcia, from Richard Löwenherz by Joseph Weigl
  No. 7. Aria, from Die Schwestern von Prag by Wenzel Müller
  No. 8. Tyroler Lied, based on an anonymous song
Zweyter Ackt
  No. 9. Ouverture, based on a solo dance by Anton Diabelli
  No. 10. Aria, from Le nozze di Figaro by Wolfgang Amadeus Mozart
  No. 11. Duetto, from L’arbore di Diana by Vicente Martín y Soler
  No. 12. Ariette, from La donna di testa debole by Joseph Weigl
  No. 13. Quartetto, from I filosofi immaginari by Giovanni Paisiello
  No. 14. Quartetto, from Palmira regina di Persia by Antonio Salieri
  No. 15. Aria, from Das Neusonntagskind by Wenzel Müller
  No. 16. Aria, from Alcina by Joseph Weigl
  No. 17. Finale, based on two anonymous folksongs
Dritter Ackt
  No. 18. Ouverture, from Das Waldmädchen by Paul Wranitzky
  No. 19. [Aria], from the anonymous ballet Figaro
  No. 20. Terzetto, from L’amor marinaro by Joseph Weigl
  No. 21. Duetto, from Une folie by Etienne-Nicolas Méhul
  No. 22. Aria, from Le trésor supposé by Etienne-Nicolas Méhul
  No. 23. Aria, from Harlekin und Colombine auf den Alpen by Franz Maurer
  No. 24. Menuetto, from Apollo-Saal-Tänze, no. 3, by Johann Nepomuk Hummel
  No. 25. Menuetto, from Symphony No. 94 in G Major by Franz Joseph Haydn and a trio by Pecháček
  No. 26. Schlus-Chor, based on an anonymous folksong
 
"Das beliebte Quodlibet" from Der Eheteufel auf Reisen
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