Operatic Pasticcios in 18th-Century Europe Contexts, Materials and Aesthetics

• Main Author: Berthold Over, Gesa zur Nieden
• Format: eBook
• Language: English
• Published: Bielefeld Transcript Verlag 2021; transcript Verlag
• Edition: 1
• Series: Mainzer Historische Kulturwissenschaften
• Subjects: Art History; Arts; Cultural History; Culture and institutions; European Art; Fine Arts; History; History of art; History, geographic treatment, biography; History, geography, and auxiliary disciplines; Law; Literature (Belles-lettres) and rhetoric; Music; Music Aesthetics; Oper; Opera; Operas; Pastiche; Philosophy and psychology; Stage presentations; The Arts; The arts. Fine and decorative arts; The Arts: treatments and subjects; Work Concept

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...

Table of Contents:

• Local Conditions of Pasticcio Production and Reception: Between Prague, Wrocław and Moravia -- The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis's Common Practice? -- 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 -- 5. Pasticcio Practices Beyond Opera -- Bad Habits in Theater - Late Forms of Operatic Pasticcios in Vienna Around 1800 -- Dance in Pasticcios - Pasticcios in Dance -- Ballet Performance as Motivation for Pasticcio Practices - Gluck's and Berton's Cythère assiégée (1775) -- The Use of Extracts of Mozart's Operas in Polish Sacred Music -- Pasticcio da Chiesa: Transforming Opera Arias into an Oratorio. The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18th Century -- 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 -- The Musical and Physical Mobility of Material in Handel Sources -- Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century -- Gluck's Contribution to the Pasticcios Arsace and La finta schiava -- Digital Music Editions Beyond [Edited] Musical Text -- The pasticci Tree: Manual and Computing Solutions -- Ways of Replacement - Loss and Enrichment -- Epilogue -- List of Contributors -- Index of Persons -- Index of Places
• Cover -- Content -- Introduction -- The World of Pasticcio: Reflections on Pre-Existing Text and Music -- Italian Pasticcio Opera, 1700-1750: Practices and Repertoires -- 1. Pasticcio Principles in Different Arts -- Antoine Watteau's pasticci -- Pasticcio Practice in 18th-Century German Theater -- Adaptations of Stage Directions and Stage Designs in Pietro Metastasio's drammi per musica -- Between Dwarfs and Giants. Aesthetics of the Pasticcio Between London and Hamburg -- 2. Pasticcio vs. Pastiche -- The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work -- Pasticcio en littérature? -- On the New Significance of the Pastiche in Copyright Law -- 3. Traveling Musicians - Traveling Music? -- A Voice of Two Cities: Francesco Borosini Between the Habsburg Court and the Royal Academy -- Debts and Destiny: New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business -- Italian operisti, Repertoire and the aria da baule: Insights from the Pirker Correspondence -- Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera Troupe -- Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765) -- 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 -- Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresario's Role -- Artaserse (Rome, 1721), Nicola Porpora's First Pasticcio -- Singers of the Viennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios -- The Book of Pasticcios: Listening to Ormisda's Material Texts -- Borrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London