Operatic Pasticcios in 18th-Century Europe

Contexts, Materials and Aesthetics

In Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles.

Kapitel-Übersicht

  1. Frontmatter

    Seite 1
  2. Editorial

    Seiten 2 - 4
  3. Content

    Seiten 5 - 8
  4. Introduction

    Seiten 9 - 26
  5. The World of Pasticcio Reflections on Pre-Existing T ext and Music

    Seiten 27 - 44
  6. Italian Pasticcio Opera, 1700-1750 Practices and Repertoires

    Seiten 45 - 68
  7. 1. Pasticcio Principles in Different Arts

    Antoine Watteau's pasticci

    Seiten 71 - 102
  8. Pasticcio Practice in 18th-Century German Theater

    Seiten 103 - 116
  9. Adaptations of Stage Directions and Stage Designs in Pietro Metastasio' s drammi per musica

    Seiten 117 - 152
  10. Between Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg

    Seiten 153 - 178
  11. 2. Pasticcio vs. Pastiche

    The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work

    Seiten 181 - 196
  12. Pasticcio en littérature?

    Seiten 197 - 210
  13. On the New Significance of the Pastiche in Copyright Law

    Seiten 211 - 222
  14. 3. Traveling Musicians – Traveling Music?

    A Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy

    Seiten 225 - 240
  15. Debts and Destiny New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business

    Seiten 241 - 270
  16. Italian operisti, Repertoire and the aria di baule: Insights from the Pirker Correspondence

    Seiten 271 - 284
  17. Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe

    Seiten 285 - 328
  18. Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765)

    Seiten 329 - 346
  19. 4. Local Conditions of Pasticcio Production and Reception

    Collaboration, Arrangement, 'Dressing': The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century

    Seiten 349 - 376
  20. Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresario's Role

    Seiten 377 - 396
  21. Artaserse (Rome, 1721), Nicola Porpora's First Pasticcio

    Seiten 397 - 424
  22. Singers of the V iennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios

    Seiten 425 - 446
  23. The Book of Pasticcios: Listening to Ormisda's Material Texts

    Seiten 447 - 464
  24. Borrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London

    Seiten 465 - 484
  25. Local Conditions of Pasticcio Production and Reception: Between Prague, W rocław and Moravia

    Seiten 485 - 506
  26. The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis' s Common Practice?

    Seiten 507 - 526
  27. A Granted Royal Wish, or Carlo Goldoni' s La buona figliuola with Music by Niccolò Piccinni and Il mercato di Malmantile with Music by Domenico Fischietti, Staged in Warsaw in 1765

    Seiten 527 - 538
  28. 5. Pasticcio Practices Beyond Opera

    Bad Habits in Theater – Late Forms of Operatic Pasticcios in Vienna Around 1800

    Seiten 541 - 552
  29. Dance in Pasticcios – Pasticcios in Dance

    Seiten 553 - 574
  30. Ballet Performance as Motivation for Pasticcio Practices – Gluck' s and Berton's Cythère assiégée (1775)

    Seiten 575 - 588
  31. The Use of Extracts of Mozart' s Operas in Polish Sacred Music

    Seiten 589 - 608
  32. Pasticcio da chiesa: Transforming Opera Arias into an Oratorio The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18th Century

    Seiten 609 - 620
  33. 6. Pasticcio Between Philology and Materiality

    Apostolo Zeno's Venceslao (Venice 1703) and its Pasticcio Version Vincislao re di Polonia (London 1717) A Case Study with Stops in Florence, Milan and Naples

    Seiten 623 - 658
  34. The Musical and Physical Mobility of Material in Handel Sources

    Seiten 659 - 668
  35. Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century

    Seiten 669 - 686
  36. Gluck's Contribution to the Pasticcios Arsace and La finta schiava

    Seiten 687 - 704
  37. Digital Music Editions Beyond [Edited] Musical Text

    Seiten 705 - 718
  38. The pasticci Tree: Manual and Computing Solutions

    Seiten 719 - 732
  39. Ways of Replacement – Loss and Enrichment

    Seiten 733 - 754
  40. Epilogue

    Seiten 755 - 760
  41. List of Contributors

    Seiten 761 - 770
  42. Index of Persons

    Seiten 771 - 790
  43. Index of Places

    Seiten 791 - 798
Mehr
59,99 € *

16. April 2021, 798 Seiten
ISBN: 978-3-8394-4885-4
Dateigröße: 27.86 MB

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Weiterempfehlen

Berthold Over

Berthold Over, Universität Greifswald, Deutschland

Gesa zur Nieden

Gesa zur Nieden, Universität Greifswald, Deutschland

1. Why did you chose this topic?

The musical pasticcio of the 18th century with its use of pre-existing music has a rather pejorative image: the ›cheap recycling‹ and quick com-position of music as well as the closeness to plagiarism arouse doubts on its work status and aesthetical value. With the book our aim was to reconsider the pasticcio and its practices, to contrast it with compilation techniques in other arts and to see it from a point of view diametrically opposite: as an appreciated art form that fostered aesthetic reconsiderations in the early Enlightenment and beyond.

2. What new perspectives does your book offer?

Our studies take recent research trends focusing musicians' mobilities and the materiality of music as an opportunity to consider the European opera pastiche of the 18th century in its European and practical contexts. Aesthetic exchange processes also play a role here, which not only ensured the dissemination of certain compositional styles, but also their combination and further development. In the whole, the understanding of operatic pasticcios offers deep insight into the reception of music in early modern metropolises and in the context of itinerant troupes.

3. What makes your topic relevant for current research debates?

The book is an important contribution to the discussion of the work concept which has been called into question more and more over the last 20 years. The un-mutability of musical works makes room for their mutability evidenced in their openness of form and content, a topic still to be discussed. Moreover, the volume has a certain relevance in actual legal debates since the pastiche as a legal term has recently entered jurisdiction of the European Court of Justice.

4. Choose one person you would like to discuss your book with!

Martha Feldman (University of Chicago). Prof. Feldman is a specialist of music in early modern times with a special focus on opera, singers and materiality. Moreover, she researched functions of the anonymous work which is a characteristic of the pasticcio too, normally containing numerous anonymous arias.

5. Your book summary in one sentence:

A comprehensive interdisciplinary overview of current pasticcio research offering numerous new insights and further research perspectives.

Autor_in(nen)
Berthold Over / Gesa zur Nieden (eds.)
Buchtitel
Operatic Pasticcios in 18th-Century Europe Contexts, Materials and Aesthetics
Verlag
transcript Verlag
Seitenanzahl
798
Ausstattung
125 SW-Abbildungen, 68 Farbabbildungen
ISBN
978-3-8394-4885-4
DOI
10.14361/9783839448854
Warengruppe
1582
BIC-Code
AC
BISAC-Code
ART015000
THEMA-Code
AGA
Erscheinungsdatum
16. April 2021
Themen
Kunst, Kulturgeschichte
Adressaten
Musicology, Music, Dance, Literary Studies, Fine Arts, Theater Studies, Philosophy, Law
Schlagworte
Opera, Pastiche, Work Concept, Music Aesthetics, Arts, Cultural History, Art, Art History, European Art, Fine Arts

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