Operatic Pasticcios in 18th-Century Europe : Contexts, Materials and Aesthetics / Berthold Over, Gesa zur Nieden
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 o...
Saved in:
HerausgeberIn: | |
---|---|
Year of Publication: | 2021 |
Edition: | 1st ed. |
Language: | English |
Series: | Mainzer Historische Kulturwissenschaften
|
Physical Description: | 1 online resource (798 p.) |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
LEADER | 03159cam a2200457 c 4500 | ||
---|---|---|---|
001 | 993581042204498 | ||
005 | 20220221094418.0 | ||
006 | m|||||o||d|||||||| | ||
007 | cr || |||||||| | ||
008 | 220221s2021 gw o ||| 0 eng d | ||
020 | |a 3-8394-4885-9 | ||
024 | 7 | |a 10.14361/9783839448854 |2 doi | |
035 | |a (CKB)4940000000601832 | ||
035 | |a (DE-B1597)583092 | ||
035 | |a (OCoLC)1248759283 | ||
035 | |a (DE-B1597)9783839448854 | ||
035 | |a (MiAaPQ)EBC6564675 | ||
035 | |a (Au-PeEL)EBL6564675 | ||
035 | |a (transcript Verlag)9783839448854 | ||
035 | |a (EXLCZ)994940000000601832 | ||
040 | |a DE-B1597 |b eng |c DE-B1597 |e rda | ||
041 | 0 | |a eng | |
044 | |a gw |c DE | ||
050 | 4 | |a ML1720.3 |b .O64 2021 | |
072 | 7 | |a ART015000 |2 bisacsh | |
082 | 0 | 4 | |a 782.109033 |2 23 |
084 | |a LR 54171 |2 rvk |0 (DE-625)rvk/109639: | ||
245 | 0 | 0 | |a Operatic Pasticcios in 18th-Century Europe |b Contexts, Materials and Aesthetics |c Berthold Over, Gesa zur Nieden |
250 | |a 1st ed. | ||
260 | |a Bielefeld |b transcript Verlag |c 2021 | ||
300 | |a 1 online resource (798 p.) | ||
336 | |a text |b txt |2 rdacontent | ||
337 | |a computer |b c |2 rdamedia | ||
338 | |a online resource |b cr |2 rdacarrier | ||
490 | 0 | |a Mainzer Historische Kulturwissenschaften |v 45 | |
546 | |a In English. | ||
505 | 0 | 0 | |t Frontmatter -- |t Editorial -- |t Content -- |t Introduction -- |t The World of Pasticcio Reflections on Pre-Existing T ext and Music -- |t Italian Pasticcio Opera, 1700-1750 Practices and Repertoires -- |t 1. Pasticcio Principles in Different Arts -- |t Antoine Watteau’s pasticci -- |t Pasticcio Practice in 18th-Century German Theater -- |t Adaptations of Stage Directions and Stage Designs in Pietro Metastasio’ s drammi per musica -- |t Between Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg -- |t 2. Pasticcio vs. Pastiche -- |t The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work -- |t Pasticcio en littérature? -- |t On the New Significance of the Pastiche in Copyright Law -- |t 3. Traveling Musicians – Traveling Music? -- |t A Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy -- |t Debts and Destiny New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business -- |t Italian operisti, Repertoire and the aria di baule: Insights from the Pirker Correspondence -- |t Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe -- |t Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765) -- |t 4. Local Conditions of Pasticcio Production and Reception -- |t Collaboration, Arrangement, ‘Dressing’: The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century -- |t Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresario’s Role -- |t Artaserse (Rome, 1721), Nicola Porpora’s First Pasticcio -- |t Singers of the V iennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios -- |t The Book of Pasticcios: Listening to Ormisda’s Material Texts -- |t Borrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London -- |t Local Conditions of Pasticcio Production and Reception: Between Prague, W rocław and Moravia -- |t The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis’ s Common Practice? -- |t 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 -- |t 5. Pasticcio Practices Beyond Opera -- |t Bad Habits in Theater – Late Forms of Operatic Pasticcios in Vienna Around 1800 -- |t Dance in Pasticcios – Pasticcios in Dance -- |t Ballet Performance as Motivation for Pasticcio Practices – Gluck’ s and Berton’s Cythère assiégée (1775) -- |t The Use of Extracts of Mozart’ s Operas in Polish Sacred Music -- |t Pasticcio da chiesa: Transforming Opera Arias into an Oratorio The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18th Century -- |t 6. Pasticcio Between Philology and Materiality -- |t 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 -- |t The Musical and Physical Mobility of Material in Handel Sources -- |t Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century -- |t Gluck’s Contribution to the Pasticcios Arsace and La finta schiava -- |t Digital Music Editions Beyond [Edited] Musical Text -- |t The pasticci Tree: Manual and Computing Solutions -- |t Ways of Replacement – Loss and Enrichment -- |t Epilogue -- |t List of Contributors -- |t Index of Persons -- |t Index of Places |
520 | |a 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. | ||
545 | 0 | |8 1\u |a Berthold Over (PhD), born in 1964, is a researcher in the project PASTICCIO. Ways of Arranging Attractive Operas at Greifswald University. He previously worked and taught at Mainz University where he was member of projects on musical mobility and migration as well as on Roman cantatas in Handel's times. His research focuses mainly on 17th- and 18th-century music as evident from numerous publications. | |
545 | 0 | |8 2\u |a Gesa zur Nieden (Prof. Dr.), born in 1978, teaches musicology at the University of Greifswald and at the Hanover University of Music, Drama and Media. Her research and publications focus on the early modern musicians mobility, on spaces and buildings for music, on intermedial dimensions of music and on the reception of Wagner after 1945. | |
540 | |a This eBook is made available Open Access under a CC BY-NC-ND 4.0 license: |u https://creativecommons.org/licenses/by-nc-nd/4.0 |u https://www.degruyter.com/dg/page/open-access-policy | ||
650 | 4 | |a Opera; Pastiche; Work Concept; Music Aesthetics; Arts; Cultural History; Art; Art History; European Art; Fine Arts; | |
653 | |a Art History. | ||
653 | |a Art. | ||
653 | |a Arts. | ||
653 | |a Cultural History. | ||
653 | |a European Art. | ||
653 | |a Fine Arts. | ||
653 | |a Music Aesthetics. | ||
653 | |a Pastiche. | ||
653 | |a Work Concept. | ||
700 | 1 | |8 1\u |a Over, Berthold |e editor |4 edt | |
700 | 1 | |8 2\u |a zur Nieden, Gesa |e editor |4 edt | |
776 | |z 3-8376-4885-0 | ||
830 | 0 | |a Mainzer Historische Kulturwissenschaften | |
906 | |a BOOK | ||
ADM | |b 2024-05-01 00:29:19 Europe/Vienna |f system |c marc21 |a 2021-05-11 07:57:52 Europe/Vienna |g false | ||
AVE | |i DOAB Directory of Open Access Books |P DOAB Directory of Open Access Books |x https://eu02.alma.exlibrisgroup.com/view/uresolver/43ACC_OEAW/openurl?u.ignore_date_coverage=true&portfolio_pid=5343012090004498&Force_direct=true |Z 5343012090004498 |b Available |8 5343012090004498 |