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M602: Seminar in Musicology: Die Zauberflöte |
Daniel R. Melamed |
Jacobs School of Music, Indiana University |
Fall 2020 |
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SCHEDULE
Tuesdays, 3.00-6.00 PM |
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25 Aug 1. Introduction
1 Sep 2. Der Stein der Weisen/Theater auf der Wieden
8 Sep 3. Libretto
15 Sep 4. Arias
22 Sep 5. Finales. Guest: John Platoff
29 Sep 6. Censorship. Guest: Lisa de Alwis
6 Oct 7. The representation of women. Guest: Jessica Waldoff
13 Oct 8. Die Zauberflöte on film
20 Oct 9. Analysis
27 Oct 10. Topic workshop
3 Nov 11. Repertory of the Theater auf der Wieden
10 Nov 12. Repertory of the Theater auf der Wieden (cont.)
17 Nov 13. Problems of genesis
Thanksgiving Break
1 Dec 14. Paper conferences
8 Dec
TOPIC
Schikenader and Mozart's Die Zauberflöte as a starting point for the study of late eighteenth-century opera.
GENERAL INFORMATION
Prof. Daniel R. Melamed dmelamed (AT) indiana.edu
Office hours: By appointment (e-mail to arrange). E-mail questions are welcome at any time.Course information, assignments, reserve lists and this schedule can be found at http://dmelamed.pages.iu.edu/M602-MagicFlute-2020.htm, also reachable through http://mozart.melamed.org.
REQUIREMENTS
GRADING
The course grade will be based on presentations, participation and the final paper. There will be no examinations.
SEMINAR MEMBERS
Miguel Arango Calle
Mitia Ganade D'Acol
Mingfei Li
Daniel R. Melamed
Grace Pechianu
RESOURCES
Original libretto as pdf Libretto (critical text) Poetic numbers English translation
Autograph score (D-B) Piano-vocal score (Simrock, c. 1793)
Eric Offenbacher collection at Harvard
ASSIGNMENTS
1796 librettoScore M2 .R286 v. 76 [Music Reference] introduction
Recording:
Pearlman
Cast
Outline
Arias
David J. Buch. "Der Stein der Weisen, Mozart, and Collaborative Singspiels at Emanuel Schikaneder's Theater auf der Weiden." Mozart-Jahrbuch 2000: 91-119.
David J. Buch. "Emanuel Schikaneder as Theater Composer, or Who Wrote Papageno's Melodies in Die Zauberflöte?" Divadelní revue 26/2 (2015). 160-7.
Models
Christoph Martin Wieland, Dschinnistan, oder auserlesene Feen- und
Geistermärchen.
vol i. (1786)
vol.2 (1787)
vol. 3 (1789)
Contents
Giesecke
Peter Branscombe. "Die Zauberflöte: Some Textual and Interpretative Problems." Proceedings of the Royal Musical Association 92 (1965 - 1966): 45-63 .
Gerd Ibler. "Betrachtungen und historische Feststellungen zur Urheberschaft des Textbuches zur deutschen Oper 'Die Zauberflöte.'" Acta Mozartiana 59 (2012): 45-61.
Günter Meinhold. Zauberflöte und Zauberflöten-Rezeption. Studien zu Emanuel Schikenaders Libretto. Die Zauberflöte und seiner literarischen Rezeption. Hamburger Beiträge zur Germanistik 34. Frankfurt: Peter Lang, 2001.
Alternative text
Michael Freyhan. "Toward the Original Text of Mozart's 'Die Zauberflöte.'" Journal of the American Musicological Society 39 (1986): 355-380.
Michael Freyhan.
The
Authentic Magic Flute Libretto: Mozart’s Autograph or the First
Full-Score Edition? Lanham: Scarecrow, 2009.
Web site:
http://www.freyhan.co.uk/
Michael Freyhan. "Mozart's Text Setting in the "Magic Flute.'" Acta musicologica 83 (2011): 245-59.
Paul Corneilson. "Conspiracy Theory." [Review of Michael Freyhan, The Authentic Magic Flute Libretto]. Newsletter of the Mozart Society of America 14/2 (2010): 18-19.
Genre
David J. Buch. Magic Flutes and Enchanted Forests. Chicago: Chicago University Press, 2008.
Other topics
[Divergences between printed libretto and Mozart's score]
[Libretto prosody]
Mary Hunter.
The Culture of Opera Buffa in Mozart's Vienna: a Poetics of Entertainment.
[Chapters 4 and 5] Princeton: Princeton University Press, 1999. [online]
[ML1723.8.V6 H86]
John Platoff. "The
buffa aria in Mozart's Vienna." Cambridge Opera Journal 2 (1990):
99-120.
James Webster. "The
analysis of Mozart's arias." In Mozart Studies, edited by Cliff
Eisen, 101-199. Oxford: Clarendon Press, 1991.
James Webster. "Understanding
opera buffa: analysis = interpretation." In Opera Buffa in Mozart's
Vienna, edited by Mary Hunter and James Webster, 340-377. Cambridge:
Cambridge University Press, 1997.
James Webster. "Mozart's
operas and the myth of musical unity." Cambridge Opera Journal 2
(1990): 197-218. [Introduction and portion on arias, through p. 204]
Thomas Bauman, Die Entführung aus dem Serail,
Chapter
5, pp. 75-82.
5. Finales. Guest: Prof. John Platoff
John Platoff. "The Finales of The Magic Flute." [typescript]
John Platoff. "Musical and Dramatic Structure in the Opera Buffa Finale." Journal of Musicology 7 (1989): 191-230.
John Platoff. "Tonal organization in 'buffo' finales and the Act II finale of 'Le Nozze di Figaro.'" Music and Letters 72 (1991): 387-403.
Alfred Lorenz. "Das Finale in
Mozarts Meisteropern." Die Musik 19 (1926-27): 622
Carolyn Abbate and Roger Parker. "Dismembering Mozart." Cambridge Opera Journal 2 (1990): 187-195.
Jessica Waldoff. Recognition in Mozart's Operas. Chapter 1. New York, Oxford University Press, 2006.
Markus Rathey. "Mozart, Kirnberger and the Idea of Musical Purity: Revisiting Two Sketches From 1782." Eighteenth-Century Music 13/2 (2016): 235–252.
Christoph Wolff. "'O ew'ge Nacht! wann wirst [du] schwinden?' Zum Verständnis der Sprecherszene im ersten Finale von Mozarts 'Zauberflöte.'" In Analysen: Beiträge zu einer Problemgeschichte des Komponierens ; Festschrift für Hans Heinrich Eggebrecht zum 65. Geburtstag, ed. Werner Breig, Reinhold Brinkmann, and Elmar Budde, 234-247. Beihefte zum Archiv für Musikwissenschft 23. Stuttgart: F. Steiner, 1984.
A famous statement by Lorenzo Da Ponte on the construction of finales.
Stein der Weisen finales--outlines
6. Censorship. Guest: Prof. Lisa de Alwis
Martin Nedbal. "Mozart, Da Ponte, and Censorship: Don Giovanni and Così fan tutte at the Vienna Court Theater." Zeitschrift für Literatur- und Theatersoziologie 11/15 (2018): 75-109.
Lisa de Alwis. "Censorship
and Magical Opera in Early nineteenth-century Vienna." Ph.D. diss.
University of Southern California, 2012.
pp. 16-52: context for issues around censorship.
pp. 72-77: changes in censorship during different regimes in Austria.
Chapter 4: Two Magic Flute parodies, including
a brief discussion of censorship specifically.
A
printed libretto of one of the parodies.
7. The representation of women. Guest: Prof. Jessica Waldoff
To
get started
Dorinda Outram. “Enlightenment thinking about gender.” in The Enlightenment, ed. Dorinda Outram. Cambridge: Cambridge University Press.
Myra Jehlen. “Gender” in Critical Terms for Literary Study edited by Frank Lentricchia and Thomas McLaughlin, 2nd edn (Chicago: University of Chicago Press, 1995), 263-73.
Mary Hunter. The Culture of Opera Buffa in Mozart’s Vienna. Princeton: Princeton University Press, 1999. [84-92].
Jessica Waldoff. “Sense and Sensibility in Così fan tutte.” In
Recognition in Mozart’s Operas,
184-223. New York: Oxford University Press, 2006.
Gretchen A. Wheelock. “Schwarze Gredel and the Engendered Minor Mode in
Mozart’s Operas.” in
Musicology and Difference: Gender and Sexuality in Music Scholarship,
edited by Ruth A. Solie, 201-221. Berkeley and Los Angeles: University of
California Press, 1995.
On
the opera
Catherine Clément.
Opera, or the Undoing of Women, transl. Betsy Wing. Minneapolis:
University of Minnesota Press, 1988. Pp. 70-76.
Carolyn Abbate. “Magic
Flute, Nocturnal Sun,”
In In Search of Opera,
55-106. Princeton: Princeton
University Press, 2001. OR PDF
Carolyn Abbate. Unsung Voices. Princeton: Princeton University Press, 2001. Pp. 3-29.
Kristi Brown-Montesano.
Understanding the Women of Mozart’s Operas.
Berkeley and Los Angeles: University of
California Press, 2007. Pp. 81-106.
Jane K. Brown. “The
Queen of the Night and the Crisis of Allegory in
The Magic Flute.” Goethe Yearbook
8 (1996): 142-156. PDF
Kate Bertel. “Pamina,
portraits, and the feminine in Mozart and Schikaneder’s
Die Zauberflöte.”
Musicology Australia 22/1 (1999): 31-45. PDF
Jessica Waldoff, Recognition in Mozart’s Operas, pp. 68- 75.
For study
Whether in Mozart’s time or ours, making assumptions on the basis of sex is
complicated. It is no secret that women were viewed (and treated) differently in
earlier centuries. Still, a glance at any major newspaper today reminds us that
women do not (yet) live in a world where they enjoy full equality with men
either under the law or in their daily lives, so we should not judge the
eighteenth century too harshly.
Many scholars and directors have sought to “correct” what they view as
problematic in Die Zauberflöte’s representation of women. This can be
done in a variety of ways – by seeking to read or hear differently, to
rehabilitate individual characters, and to explore neglected aspects of the
work. Often opera directors seek to stage works in new ways, sometimes leaving
out or altering aspects that now seem objectionable. For our seminar meeting, we
will focus on the following questions (and any others you would like to bring
up):
1)
How do the readings for
today attempt to offer a gendered reading that rehabilitates the Queen of the
Night? Is it possible to redeem the Queen? Is it necessary to do so in order to
avoid the accusation that the opera is misogynist? To make your case – either
for or against – be sure to include music, text, and stage action with an
emphasis on one of her arias.
2)
How do the readings for
today allow for a more subtle and interesting reading of Pamina? Do the opera’s
misogynist claims apply to her? Is she developed as a type or an exception? To
make this case draw on at least two scenes (and their music) essential to her
characterization.
3)
Identify four or five
passages in the opera (spoken or sung) that are clearly misogynistic and
problematic to modern ears. How do you understand the role of these moments in
the drama? How do you think we could or should understand these problematic
moments? Often these moments are altered or cut in performance. Imagine you are
directing a performance in which these statements cannot be cut. How might they
be understood in the larger context(s) of the opera as a whole, Schikaneder’s
theater, Mozart’s world?
8. Die Zauberflöte on film
Trollflöjten dir. Ingmar Bergman (1975). DVD 9247011 [Reserve]
Mozart's The Magic Flute dir. Kenneth Branagh (2006). Amazon Prime
Marcia Citron. Opera on screen. New Haven: Yale University Press, 2000. Chapter 1
Jeremy Tambling. Opera, ideology and film. New York: St. Martin's Press, 1987. Introduction, Chapter 6 [that chapter also here as pdf]
Ingmar Bergman. The Magic Lantern: An Autobiography. Translated by Joan Tate. Chicago: University of Chicago Press, 2007. [IU access through Hathitrust; alternative way in here]
Jeongwon Joe. “Opera on Film, Film in Opera: Postmodern Implications of the Cinematic Influence on Opera.” PhD diss., Northwestern University, 1998. Introduction, Chapters 1-2.
Justin Mueller. "In diesen heil’gen Hallen: Mozart’s Magic Flute and the Mediatized Space of Opera." MA thesis, Tufts University, 2013.
Sabine Sonntag. "Der Erste Weltkrieg als Opernsetting: Kenneth Branaghs Film The magic flute." Kieler Beiträge zur Filmmusikforschung 12 (2016): 171-180.
James Webster. "Understanding
opera buffa: analysis = interpretation." In Opera Buffa in Mozart's
Vienna, edited by Mary Hunter and James Webster, 340-377. Cambridge:
Cambridge University Press, 1997.
James Webster. "Mozart's
operas and the myth of musical unity." Cambridge Opera Journal
2 (1990): 197-218.
Alfred Lorenz. "Das Finale in
Mozarts Meisteropern." Die Musik 19 (1926-27): 622
Carolyn Abbate and Roger Parker. "Dismembering Mozart." Cambridge Opera Journal 2 (1990): 187-195.
James Webster. "To Understand Verdi and Wagner We Must Understand Mozart." 19th-Century Music 11 (1987): 175-93. %%%
Frits Noske. "'Le nozze di Figaro': Musical Quotation as a Dramatic Device." In The Signifier and the Signified. Studies in the Operas of Mozart and Verdi. The Hague: Martinus Nijhoff, 1977.
Erik Smith. "The Music." In W. A. Mozart. Die Zauberflöte, ed. Peter Branscombe, 111-41. Cambridge: Cambridge University Press, 1991.
Jacques Chailley. The Magic Flute, Masonic Opera; An Interpretation of the Libretto and the Music. Transl. Herbert Weinstock. New York, A. A. Knopf, 1971.
10. Topic workshop
11. Repertory of the Theater auf der Wieden
Der dumme Gärtner
David
J. Buch, ed.
Two
operas from the series Die zween Anton : Part 1, Der dumme Gärtner aus dem
Gebürge oder Die zween Anton (Vienna, 1789). Recent Researches in Music of the Classical Era
96. Middleton, WI: A-R Editions, 2015.
pv score Bonn: Simrock, 1797. IMSLP
Variations K.613 DME score Recording Alvini
Die verdeckten Sachen
David
J. Buch, ed. Two
Operas from the Series ‘Die zween Anton’, Part 2: Die verdeckten Sachen (Vienna,
1789). Recent Researches in Music of the Classical Era 98. Middleton,
WI: A-R Editions, 2016.
Der wohltätige Derwisch
David
J. Buch, ed. Der
wohltätige Derwisch (Vienna, 1791). Recent Researches in Music of the
Classical Era 81. Middleton, WI: A-R Editions, 2010.
Recording Pearlman/Boston Baroque
Der Zauberflöte zweyter Theil/Das Labyrinth oder der Kampf mit den Elementen
pv score Bonn: Simrock c. 1799
pv score https://books.google.com/books?id=UyDo-EhBpvIC
Der Königssohn aus Ithaka
Der Spiegel von Arkadien
Die Königen der schwarzen Inseln