Quodlibets of the Viennese Theater
Series: 19th and Early 20th Centuries Publisher: A-R Editions
Quodlibets of the Viennese Theater
Edited by Lisa Feurzeig, John Sienicke
N047 Quodlibets of the Viennese Theater
978-0-89579-623-3
Full Score (2008)
9x12, xxv + 321 pp.
$245.00
In stock
SKU
N047
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