Between Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg

Kapitel in diesem Buch

1. Frontmatter 1
2. Content 5
3. Introduction 9
4. The World of Pasticcio Reflections on Pre-Existing T ext and Music 27
5. Italian Pasticcio Opera, 1700-1750 Practices and Repertoires 45
6. 1. Pasticcio Principles in Different Arts
7. Antoine Watteau’s pasticci 71
8. Pasticcio Practice in 18^th-Century German Theater 103
9. Adaptations of Stage Directions and Stage Designs in Pietro Metastasio’ s drammi per musica 117
10. Between Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg 153
11. 2. Pasticcio vs. Pastiche
12. The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work 181
13. Pasticcio en littérature? 197
14. On the New Significance of the Pastiche in Copyright Law 211
15. 3. Traveling Musicians – Traveling Music?
16. A Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy 225
17. Debts and Destiny New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business 241
18. Italian operisti, Repertoire and the aria di baule: Insights from the Pirker Correspondence 271
19. Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe 285
20. Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765) 329
21. 4. Local Conditions of Pasticcio Production and Reception
22. Collaboration, Arrangement, ‘Dressing’: The Different Recipes for the pasticcio alla napoletana in the First Half of the 18^th Century 349
23. Production of Opera Pasticcios in Venice in the Early 18^th Century. The Impresario’s Role 377
24. Artaserse (Rome, 1721), Nicola Porpora’s First Pasticcio 397
25. Singers of the V iennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios 425
26. The Book of Pasticcios: Listening to Ormisda’s Material Texts 447
27. Borrowed Voices. Legal Ownership of Insertion Arias in 18^th-Century London 465
28. Local Conditions of Pasticcio Production and Reception: Between Prague, W rocław and Moravia 485
29. The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis’ s Common Practice? 507
30. 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 527
31. 5. Pasticcio Practices Beyond Opera
32. Bad Habits in Theater – Late Forms of Operatic Pasticcios in Vienna Around 1800 541
33. Dance in Pasticcios – Pasticcios in Dance 553
34. Ballet Performance as Motivation for Pasticcio Practices – Gluck’ s and Berton’s Cythère assiégée (1775) 575
35. The Use of Extracts of Mozart’ s Operas in Polish Sacred Music 589
36. Pasticcio da chiesa: Transforming Opera Arias into an Oratorio The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18^th Century 609
37. 6. Pasticcio Between Philology and Materiality
38. 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 623
39. The Musical and Physical Mobility of Material in Handel Sources 659
40. Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18^th Century 669
41. Gluck’s Contribution to the Pasticcios Arsace and La finta schiava 687
42. Digital Music Editions Beyond [Edited] Musical Text 705
43. The pasticci Tree: Manual and Computing Solutions 719
44. Ways of Replacement – Loss and Enrichment 733
45. Epilogue 755
46. List of Contributors 761
47. Index of Persons 771
48. Index of Places 791