-
Pasticcio and Pleasure. L’abbandono di Armida (Venice 1729) Musicology Today Pub Date : 2021-12-01 Aneta Markuszewska
Abstract Operatic pasticcio and the need for experiencing pleasure were inseparable in eighteenth-century operatic theatre, as can be demonstrated on the example of L’abbandono di Armida, a pasticcio that was performed in the Venetian Teatro San Giovanni Grisostomo on the last day of the 1729 carnival and gained considerable success. The article discusses the ingredients of pleasure derived from experiencing
-
Just for the Ladies? Compilation, Knowledge Practice and Pasticcio in England around 1720 Musicology Today Pub Date : 2021-12-01 Ina Knoth
Abstract In 1719, the Royal Academy of Music was founded with the purpose of setting Italian opera in England on solid ground. Previously, at least two thirds of the Italian operas staged in London had been pasticci. Much of the criticism of the Italian opera before 1719 concerned stylistic fickleness. This is just one reason why it seems likely that the declining number of pasticci after 1719 can
-
Pasticcio, Arrangement, or Adaptation? Georg Philipp Telemann's Pasticcio Judith Based on Fortunato Chelleri's dramma per musica Innocenza difesa Musicology Today Pub Date : 2021-12-01 Gesa zur Nieden
Abstract In musicological research on the eighteenth-century operatic pasticcio it has often been discussed how pasticci can be distinguished from dramme per musica. The article examines the evolution of Fortunato Chelleri's opera Innocenza difesa in the course of its adaption for several performance venues (Florence 1720, Venice 1722, Kassel 1725, Wolfenbüttel/Brunswich 1731), as well as pasticcio
-
‘Per desiderio di farsi onore’: Singers and the Adaptation of Arias in Italian drammi per musica of the Early Eighteenth-Century Italy Musicology Today Pub Date : 2021-12-01 Anne Desler
Abstract Within the aesthetic framework of the work concept and author-centred approach to music history, the practice of aria substitution in the eighteenth-century Italian dramma per musica has frequently been viewed as hostile interference with the composer’s authorial intention and attributed to singers’ vanity, laziness and ignorance. However, the substitution of both the texts and musical settings
-
The Work Concept in Eighteenth-Century Italian Opera: Some Issues, Modest Proposals and Contributions Musicology Today Pub Date : 2021-12-01 Giovanni Polin
Abstract Determining in an unequivocal and definitive way what the Italian dramma per musica was in the eighteen century is only apparently an easy task. Starting with a discussion of the definition of eighteen century Italian dramma per musica as a variable spectacular text, the paper attempts to provide a concise taxonomy useful for critically assessing the situations that can arise when analysing
-
From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) Musicology Today Pub Date : 2021-12-01 Emilia Pelliccia,Sonia Rzepka
Abstract Allowedly, singers of Baroque opera could influence the final musical and dramaturgical shape of the work. In our paper, we will focus on a case study of Hasse's compositional process, which will serve as a platform for presenting the digital outputs of the research project ‘Pasticcio. Ways of Arranging Attractive Operas’. The 1763 version of Hasse's opera Siroe, re di Persia featured the
-
‘Collected’ Pages for the Issipile (Teatro San Carlo, 1763)* Musicology Today Pub Date : 2021-12-01 Paologiovanni Maione
Abstract During the 1763–64 season, numerous intersections and connections occur behind the scenes of the principal Neapolitan opera house of Teatro di San Carlo. On the one hand, the focus on Metastasian repertoire persists without interruptions – a long and boundless tradition which will only fade towards the end of the century; on the other hand, Hasse’s world still exerts its fascination. Along
-
The Art of ‘Cooking’ a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas Musicology Today Pub Date : 2021-12-01 Berthold Over
Abstract Despite the rather pejorative implications that the musical pasticcio has today, it may have been an appreciated art form in the seventeenth and eighteenth centuries. The term pasticcio is clearly derived from the culinary pasticcio, which was a highlight at aristocratic banquets in this time. The mixture of tastes and the spectacular presentation which characterises the culinary pasticcio
-
Between Opera and Oratorio. The Pasticcio Oratorios in Prague and Brno ca 1720–1760 Musicology Today Pub Date : 2021-12-01 Jana Spáčilová
Abstract The phenomenon of the pasticcio oratorio was quite widespread in the Czech Lands around the middle of the eighteenth century. The first evidence of this practice was a Latin oratorio based on opera arias by George Frideric Handel (Prague 1725). In Brno, the capital of Moravia, the performances of oratorios were supported by Bishop Wolfgang Hannibal Schrattenbach, who was also an important
-
Handel’s Pasticci between Music History and Current Music Practice at the Handel Festival in Halle Musicology Today Pub Date : 2021-12-01 Clemens Birnbaum
Abstract Looking back on the first Handel Festival in Halle in 1922, it is argued that a close connection between science and practice has been characteristic of the Halle Festival from the very beginning. Arrangements of Handel’s works were made both by performing musicians and by recognised musicologists. Despite this common editing practice, the opera-pasticcio group of works has been disregarded
-
Pastiching as Artistic Research: Ifigenia / Ipermestra (Brussels, 2006)* Musicology Today Pub Date : 2021-12-01 Bruno Forment
Abstract On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: Ifigenia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut & paste’ operas offered opportunities to explore issues of music-dramatic syntax in opera seria. In this article, I explain how individual
-
Hasse's Siroe, Thirty Years Later: A Veritable Work in Progress Musicology Today Pub Date : 2021-12-01 Raffaele Mellace
Abstract The article aims at assessing the differences between Hasse's original setting of Metastasio's Siroe in 1733 and the composer's second setting of the same drama, exactly thirty years later, in terms of dramatic, vocal, and musical balance. The two versions will be comprehensively compared with a focus on two main issues. The first is the origin of the two settings, which goes back to two distinct
-
Scipione impasticciato: Performing, Researching and Reviving London operas from 1730–1731 Musicology Today Pub Date : 2021-12-01 Reinhard Strohm
Abstract The study discusses practical and aesthetic aspects of the pasticcio principle, which characterised London's Italian operas of 1730–31 and still concern revivals, source research, and editions today. Twentieth-century revivals of Handel's opera Scipione pose the question of how to evaluate the original version of 1726 vs its pasticcio-like revival of 1730. Details of the 1730–31 season under
-
Tortuous Roads. Tracing Back the Reception Paths of Apostolo Zeno’s Libretto Venceslao (1703–1754)* Musicology Today Pub Date : 2021-12-01 Anna Ryszka-Komarnicka
Abstract During the fifty years that mark the historical reception of Apostolo Zeno’s libretto Venceslao (1703–1754), no less than forty-two opera productions based on this text were staged throughout Europe. In most cases, these performances are documented in the form of printed libretti. As far as I was able to establish, the text of Venceslao was reproduced verbatim only once: the Kraków print of
-
More on the Music of Giuseppe Torti (before 1752–after 1780) Musicology Today Pub Date : 2020-12-01 Irena Bieńkowska
Abstract Very little is known about Giuseppe Torti's life. Associated with Milan, he was active in 1752–1780. He made several long journeys, including to the Lithuanian court of H. F. Radziwiłł. I have recently discovered three new works by this composer, which means that his known and surviving output now consists of 12 compositions: 9 instrumental pieces, cantatas, and an aria, to which one should
-
Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective Musicology Today Pub Date : 2020-12-01 Daniel A. Jones
Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study
-
How to Impress the Public: Farinelli's Venetian Debut in 1728–1729 Musicology Today Pub Date : 2020-12-01 Berthold Over
Abstract Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, Catone in Utica by Leonardo Leo and Semiramide riconosciuta by Nicola Porpora. These operas needed to become a financial success because of the high remuneration the star singer earned. The composition and adaptation of the operas to the stage uncover the strategies by the
-
In the Shadow of the Lost Crown. ‘Oppressed Innocence’ in the Operas Dedicated to Maria Clementina Sobieska in Rome (1720–1730) Musicology Today Pub Date : 2020-12-01 Aneta Markuszewska
Abstract As a result of the Glorious Revolution of 1688, James II Stuart lost the throne of England, Scotland, and Ireland. He spent the last years of his life in France, in residence offered to his family and court by Louis XIV. Following his death in 1701, the title and claim to the throne of the three kingdoms was inherited by his son James III Stuart, who in 1719 married Maria Clementina Sobieska
-
Bronisław Mirski - Polish Music Director of the Silent Film Era Musicology Today Pub Date : 2020-12-01 Agnieszka Cieślak
Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge
-
Italian 17th- and 18th-Century Dramatic Works with Music, Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith Musicology Today Pub Date : 2020-12-01 Anna Ryszka-Komarnicka
Abstract Late 16th- and early 17th-century Italian theatrical works (with or without music) based on the Book of Judith are perceived as associated with women, who acted as their performers (in female monasteries), dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, which evolved in the circles of religious and lay
-
Justyna Kowalska-Lasoń: A Portrait with a Caravan in the Background Musicology Today Pub Date : 2019-12-31 Jolanta Szulakowska-Kulawik
Abstract The paper presents a survey of the dominant aesthetic and technical qualities of Justyna Kowalska-Lasoń’s output of compositions. The composer’s interests focus on Oriental cultures, depicting nature, correspondences of arts, and on reflecting the sacrum in music. I have discussed her selected works (Sanctus, The Modern Man I Sing; These Phrases… These Songs... These Arias..., IMAGE 1929)
-
Between Heart and Mind Musicology Today Pub Date : 2019-12-31 Iwona Lindstedt
Abstract The paper presents in a synthetic way the phenomena characteristic of Marta Ptaszyńska’s music, and the key qualities of her output. I focus on those topics that have not been sufficiently explored in existing studies, and those that call for a polemical discussion. These include the ideas that underlie Ptaszyńska’s music, the inspirations of her creative process, problems of composition technique
-
Music-Making Women-Aristocrats Musicology Today Pub Date : 2019-12-31 Aneta Markuszewska
Abstract The present article reflects on the shortage of studies concerning music-composing women in the 18th-century Polish-Lithuanian Commonwealth, and focuses on one unique figure among those female musicians – Maria Antonia Walpurgis, an aristocrat of Polish descent, who demonstrated versatile talents. Thoroughly educated in her childhood, she was a poet, composer, singer, and director of her own
-
Polish Female Composers in the Nineteenth Century Musicology Today Pub Date : 2019-12-31 Magdalena Dziadek
Abstract The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in a broad social-political context. Specific historical conditions have been taken into account, which have contributed to the perception of women’s creativity as a mission. The model of women’s activity discussed in the categories of social and political mission
-
“Why Are Our Women-Composers So Little Known?” Musicology Today Pub Date : 2019-12-31 Iwona Lindstedt
Abstract Polish women-composers of the interwar period (1918–1939) have not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a more multi-sided, in-depth picture of women-composers’ work, including their participation in local and international
-
Literature and visual arts as a source of inspiration Musicology Today Pub Date : 2019-12-31 Joanna Miklaszewska
Abstract This article is a contribution to scientific research on this aspect of Krystyna Moszumańska-Nazar’s musical output which concerns the connections between her music and other arts, primarily literature and the visual arts, as well as inspirations flowing from nature, religion, philosophy, and broadly understood culture. The article applies structuralist methodology. The starting point for
-
The Myth of Polishness in Polish Dances. How Ideologies Interpret Phenomena Related to Music and Movement Musicology Today Pub Date : 2018-12-01 Tomasz Nowak
Abstract The article discusses the myth of Polishness in the context of dances which gained the social status of ‘national’ ones, i.e. those incorporated into the canon of national culture. I shall start by establishing the terminology and chronology related to the phenomenon of ‘national dance’, and sum up Mieczysław Tomaszewski’s comments on the ways of expressing nationality in music, including
-
Deconstructing the Myth of Polishness in Music Musicology Today Pub Date : 2018-12-01 Sławomira Żerańska-Kominek
-
The Concept of Polish Music: In Search of Adequate Criteria Musicology Today Pub Date : 2018-12-01 Ryszard Daniel Golianek
Abstract The article discusses the notion of Polish music, the possibilities of defining that notion, establishing its scope and listing specific problems related to it. For about 150 years, writers on Polish music have expressed the conviction that it has its own distinctive stylistic and expressive character. Studies concerning the specific qualities of Polish national style after WWII have naturally
-
Beyond the Dogma of a ‘National Style’: Musicology Today Pub Date : 2018-12-01 Grzegorz Zieziula
Abstract A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also
-
The Polish School of Composition Musicology Today Pub Date : 2018-12-01 Iwona Lindstedt
Abstract The present paper concerns the concept of ‘the Polish School of Composition’, well established in writings on music composed in the 2nd half of the 20th century, but still resisting attempts to define it clearly. I sum up the ways authors have talked about the Polish School of Composition to date, both from the internal (Polish) and external (foreign) points of view. I also examine the musical
-
Folklorism as an Invention of the State Musicology Today Pub Date : 2018-12-01 Piotr Dahlig
Abstract Folklorism is presented as a component of culture change. The aim of the article is to show how ethno- and musicologists, folklorists, music teachers, broadcasters, and others, have influenced traditional peasant culture in times of fundamental transformation during the 20th century, and how they have contributed to its documentation, understanding and invention of new meanings, including
-
The Warsaw Autumn: the Origin and the Beginnings Musicology Today Pub Date : 2017-12-01 Andrzej Chłopecki
-
-
From Restrictions to Freedom The Perilous Path to the First Warsaw Autumn Festival Musicology Today Pub Date : 2017-12-01 Cindy Bylander
Abstract The genesis of the Warsaw Autumn Festival was fraught with both potential and real complications. Musical life in Poland at the end of the first postwar decade was in a state of flux, if not turmoil, as ideological disagreements and material complications contributed to an atmosphere of dismay and distrust among musicians and authorities. This paper provides insight into the context in which
-
Between Connotation and Denotation. Posters Announcing the Warsaw Autumn International Festival of Contemporary Music in 1956-2015 Musicology Today Pub Date : 2017-12-01 Mariusz Knorowski
Abstract The posters that accompany the successive Warsaw Autumn Festival editions are a unique collection of works, mostly of outstanding quality. One might venture the thesis that their artistic value – living up to the high demands of the topic – exceeds the typical standards of representation characteristic of popular art. Formally speaking, they abandon the conventions of egalitarian iconographic
-
“It is my world, to which you are invited…”. Composers’ self-reflection in the programme books of the Warsaw Autumn (1999–2016) Musicology Today Pub Date : 2017-12-01 Ewa Schreiber
Abstract Although we usually treat writing and speaking about music as a secondary activity in relation to creation and performance, discourse about the latest compositional output is now gaining considerable independence. The need for creative artists to work together with institutions and with a whole network of mediators means that in the twentieth and twenty-first centuries, verbal discourse has
-
Bohdan Wodiczko’s Programming Policies at Warsaw Philharmonic (1955-1958). Toward the Warsaw Autumn. Musicology Today Pub Date : 2017-12-01 Michał Klubiński
Abstract As the managing and artistic director of Warsaw Philharmonic in 1955-58, Bohdan Wodiczko introduced an innovative programming policy which re-oriented the Philharmonic’s repertoire toward 20th-century classics and focused on the links between new music and that of other historical periods. The aim was to create a vast sonosphere of a “musical inter-age” (S. Kisielewski after M. Wańkowicz)
-
The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies Musicology Today Pub Date : 2017-12-01 Małgorzata Gąsiorowska
Abstract The present paper surveys the history of the Warsaw Autumn festival focusing on changes in the Festival programming. I discuss the circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between programming policies and the current political situation, which in the early years of the Festival forced organisers to maintain
-
Reception of the Warsaw Autumn Festival in Lithuania: Cultural Discourse and Political Context Musicology Today Pub Date : 2017-12-01 Rūta Stanevičiūtė
Abstract This article aims to offer a broader understanding of the Lithuanian reception of the Warsaw Autumn festival in relation to the modernisation of national music in Lithuania since the late 1950s – early 1960s. Based on a micro-historical and comparative approach to the network of individuals and events, it is intended to explore the shifts of reception through analysis of musical criticism
-
Research on Popular Music conducted at the Institute of Musicology of the University of Warsaw in 1953–2015 Musicology Today Pub Date : 2016-12-01 Mariusz Gradowski, Przemysław Piłaciński
Abstract The article presents a survey of research on popular music carried out at the Institute of Musicology, University of Warsaw. It discusses the contents of valuable studies undertaken at the Institute but still unpublished and kept at the Library of the Institute of Musicology. The authors’ aim has been to facilitate the exchange of ideas with other musicological centres conducting research
-
Rock and Roll Styles and Genres in Poland (1957–1973) Musicology Today Pub Date : 2016-12-01 Mariusz Gradowski
Abstract This paper describes the process of establishing rock and roll styles and genres (as defined by Allan F. Moore) in Polish musical culture. My Ph.D. research has revealed three phases in this process. Phase 1: imitation (1957-1962), phase 2: Polonisation (1962-1967) and phase 3: artistic re-interpretation (1967-1973). I present the detailed characteristics of each phase (i.e. their socio-political
-
Music in Nazi-Occupied Poland between 1939 and 1945 Musicology Today Pub Date : 2016-12-01 Katarzyna Naliwajek-Mazurek
Abstract The paper is a survey of research on music in territories of occupied Poland conducted by the author in recent years, as well as a review of selected existing literature on this topic. A case study illustrates a principal thesis of this essay according to which music was used by the German Nazis in the General Government as a key elements of propaganda and in appropriation of conquered territories
-
On Witold Lutosławski’s Artistic Self-Awareness. A Survey of Very Recent Research Musicology Today Pub Date : 2016-12-01 Zbigniew Skowron
Abstract This paper presents the results of the most recent research concerning Witold Lutosławski’s artistic self-awareness, based on critical source editions of Lutosławski’s writings (publ. 2007–08). In the first part I discuss the edition of the composer’s ‘official’ writings contained in the collection Lutosławski on Music. These writings provide us with knowledge of the key elements of Lutosławski’s
-
National Dances in the Canon of Polish Culture Musicology Today Pub Date : 2016-12-01 Tomasz Nowak
Abstract The following dances are most commonly considered nowadays as national dances (or emblems of Polish national culture): the polonaise, the mazur, the krakowiak, the oberek and the kujawiak. These dances form the cultural canon as defined by Andrzej Szpociński (i.e. a constantly revised part of tradition which carries significance outside the domain of dance and is obligatory for all the community
-
The New Edition of Chopin’s Correspondence Musicology Today Pub Date : 2016-12-01 Zofia Helman-Bednarczyk
Abstract Some of Fryderyk Chopin’s letters were published individually or in groups already in the 2nd half of the 19th century. With the passage of time, more letters from and to Chopin were printed in monographs dedicated to his life and work. The first editions of Chopin’s collected letters come from the 1st half of the 20th century (by Scharlitt and von Guttry in Germany, Henryk Opieński – in Poland)
-
The Music Repertoire of the Society of Jesus in the Polish-Lithuanian Commonwealth (1565–1773) Musicology Today Pub Date : 2016-12-01 Tomasz Jeż
Abstract The paper presents the research project coordinated by the University of Warsaw and financed by the Minister of Science and Higher Education as part of the “Tradition 1a” module of the National Programme for the Development of Humanities. The main task of this research project is the documentation of the Jesuit music repertory produced and disseminated on the territory of the Polish-Lithuanian
-
Research on 18th Century Music in Poland. An Introduction Musicology Today Pub Date : 2016-12-01 Szymon Paczkowski
Abstract Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been