Pasticcio

Pastiche called an opera whose music was composed by different composers or from various works of a composer.

Formation

For the emergence of such pastiches, there are various options:

  • Several composers received an order to a libretto set to music in common, as in the listed opera in London in 1721 Muzio Scevola to the Filippo Amadei first, Giovanni Bononcini the second and Georg Friedrich Handel contributed the third act.
  • A successful opera will be restaged at another theater. In the 18th century it was common practice here, adjusting the music to the changing conditions of performance. So it was replaced mainly arias that were not one or the other singers, other, mostly already proven success numbers.
  • Especially at provincial theaters Pasticci were often given, which should offer the public a cross-section of the latest works of the great masters. As a textual basis either served an already existing libretto, which was zurechtgeschneidert accordingly, or the Hauslibrettist had to invent a new action to the selected music pieces around.
  • A composer can also merge parts from our own earlier works to a new. Examples: Oreste, Giove in Argo and Alessandro Severo by Georg Friedrich Händel, Artamene by Christoph Willibald Gluck, Edoardo e Cristina by Gioacchino Rossini.

History

The first Pasticci published after 1700; its heyday falls in the years 1720-1750, as basically all of Europe ( except France ) Opera seria was the dominant form of opera. Their scheme of separation in acting and contemplative parts ( which correspond to musical recitative and aria ) accommodates the pastiche practice. The emotions which are expressed in the arias, return to every opera again and are also lyrically and musically strongly typed. Therefore, the arias are easy to set pieces that you can transfer to almost any position from one opera to another.

With the replacement of opera seria by new forms of opera, who sought a fusion of music and drama, the Pasticci went out of fashion, but talked sporadically until about 1830, especially in Italy. An occasional revival learned the pastiche - practice in the field of the so-called " light entertainment ". So the music of the operetta was borrowed The Dreimaederlhaus by Heinrich Berté from various works of Franz Schubert, and also the first musical version of the novel The Phantom of the Opera by Gaston Leroux was a pastiche, but which offered a rather indiscriminate compilation of popular operatic hits.

Artistic classification

From the perspective of the 19th century and especially the pastiche of German Romanticism appeared as an aesthetically questionable art form, which is also expressed in the common German name for pastiche opera. The idea that virtually any piece of music can appear in any opera was, with the belief in the sacredness of the complete works hard to reconcile and seems still to strange.

In the worst case, a pastiche is actually just a collection of musical pieces that were selected solely in terms of their traction, without the action would be given special interest. If the songs are, however, carefully selected and arranged, it can result in a high-caliber work of art, as it alone would perhaps not be brought to a composer.

Example: " Bajazet " by Vivaldi

As a typical example of a pastiche serve the opera Bajazet by Antonio Vivaldi, which was listed in the 1735 carnival in the Teatro Filarmonico in Verona. Vivaldi composed several pieces of new and took the rest of the music partly from his own works, and partly from those of other composers. The following pieces have so far been identified:

  • Nasce pink lusinghiera: From Farnace by Antonio Vivaldi ( " l' aura Scherza lusinghiera "; previously been called " Senti l' aura lusinghiera " in Giustino by Vivaldi )
  • In sì torbida procella: from Alessandro Severo of Geminianus Giacomelli
  • Vedeste mai sul prato: Siroe from Re di Persia by Johann Adolf Hasse
  • Amare un'alma ingrata: new
  • Qual guerriero in campo armato: from Idaspe by Riccardo Broschi
  • Non ho nel sen costanza: Adriano in Siria out of Geminianus Giacomelli
  • Anche il mar par che sommerga: from Semiramide by Antonio Vivaldi
  • Stringi le mie catene: new
  • La mia play tata variety: from Siroe Re di Persia by Johann Adolf Hasse
  • La Cervetta timidetta: from Giustino by Antonio Vivaldi
  • Sposa son disprezzata: from Merope of Geminianus Giacomelli ( " Sposa, non mi conosci " )
  • Dov'è la figlia: from Motezuma by Antonio Vivaldi
  • Sì crudel! questo è l' amore (Quartet ): from Farnace by Antonio Vivaldi ( " Io crudel giusto rigore ?")
  • Veder parmi, or che nel fondo: from Farnace by Antonio Vivaldi
  • Spesso tra Vaghe rose: from Siroe Re di Persia by Johann Adolf Hasse
  • Verro crudel, spietato: new
  • Svena, uccidi, Abbatti, atterra: new
  • Coronata di di gigli e rose ( final chorus ): from Farnace by Antonio Vivaldi
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