New findings on the early reception of Mozart´s opera La clemenza di Tito

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F21%3A00550851" target="_blank" >RIV/68378033:_____/21:00550851 - isvavai.cz</a>

Výsledek na webu

<a href="http://hdl.handle.net/11104/0326158" target="_blank" >http://hdl.handle.net/11104/0326158</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

New findings on the early reception of Mozart´s opera La clemenza di Tito

Popis výsledku v původním jazyce

Within the framework of Rezeptionsforschung, which focuses on examining the ways and means by which individual operas established themselves in the consciousness of the cultural public, the two operas Mozart composed for Prague offer a broad source base. The study provides an overview of these new insights into contemporary copies of the opera La clemenza di Tito made in Prague, which are preserved today in Berlin, London, Salzburg, Vienna, and Zürich. The process of deciphering the nature of the reception of La clemenza di Tito was made more difficult by the fact that the autograph score does not contain the secco recitatives. The editor of this opera in the Neue Mozart Ausgabe, Franz Giegling, thought particularly highly of the so-called Lobkowicz score. The partial involvement of Prague copyists has also been identified in the score from the estate of Carl Thomas Mozart and in the score in the archive of the Gesellschaft der Musikfreunde in Vienna. The copyist of the so-called Berlin score copy has been identified as the Prague organist, Johann Nepomuk Wenzel, who met Mozart personally in Vienna. The copying workshop with the most extensive output belonged to the double bass player in the Prague Opera orchestra, Anton Grams. The Tito score produced by copyists of Grams’ workshop and now in the estate of Domenico Dragonetti in the British Library in London, was not given sufficient importance in the NMA. It also contains a German translation of the libretto, which was hitherto unknown and confirms the performance of Tito in a Singspiel version in Prague as well.

Název v anglickém jazyce

New findings on the early reception of Mozart´s opera La clemenza di Tito

Popis výsledku anglicky

Within the framework of Rezeptionsforschung, which focuses on examining the ways and means by which individual operas established themselves in the consciousness of the cultural public, the two operas Mozart composed for Prague offer a broad source base. The study provides an overview of these new insights into contemporary copies of the opera La clemenza di Tito made in Prague, which are preserved today in Berlin, London, Salzburg, Vienna, and Zürich. The process of deciphering the nature of the reception of La clemenza di Tito was made more difficult by the fact that the autograph score does not contain the secco recitatives. The editor of this opera in the Neue Mozart Ausgabe, Franz Giegling, thought particularly highly of the so-called Lobkowicz score. The partial involvement of Prague copyists has also been identified in the score from the estate of Carl Thomas Mozart and in the score in the archive of the Gesellschaft der Musikfreunde in Vienna. The copyist of the so-called Berlin score copy has been identified as the Prague organist, Johann Nepomuk Wenzel, who met Mozart personally in Vienna. The copying workshop with the most extensive output belonged to the double bass player in the Prague Opera orchestra, Anton Grams. The Tito score produced by copyists of Grams’ workshop and now in the estate of Domenico Dragonetti in the British Library in London, was not given sufficient importance in the NMA. It also contains a German translation of the libretto, which was hitherto unknown and confirms the performance of Tito in a Singspiel version in Prague as well.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Hudební věda

ISSN

0018-7003

e-ISSN

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Svazek periodika

58

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

35

Strana od-do

176-210

Kód UT WoS článku

000687798000002

EID výsledku v databázi Scopus

2-s2.0-85115384076