斯蒂芬妮的《命运之爱》:老问题的新答案

IF 0.6 2区 艺术学 0 MUSIC
EARLY MUSIC Pub Date : 2023-10-25 DOI:10.1093/em/caad039
Colin Timms
{"title":"斯蒂芬妮的《命运之爱》:老问题的新答案","authors":"Colin Timms","doi":"10.1093/em/caad039","DOIUrl":null,"url":null,"abstract":"Abstract Steffani made an important contribution to the cultivation of Italian opera in north Germany. Amor vien dal Destino must have been composed at Hanover in the 1690s but was not performed until 1709, at Düsseldorf. Several questions arise. Was it meant for 1694, the only year during his period at Hanover when there was no opera at the court? If so, why was it not performed? Why was it not performed before 1709? Why was it then staged at Düsseldorf? Why and how was the opera revised for that production? Who were the singers involved? Answers emerge from consideration of the Düsseldorf wordbook (especially its preface), of the autograph score and a hitherto neglected manuscript copy in Hanover, and of the circumstances of the two courts concerned. If these answers are correct, they demonstrate a close relationship between the opera and its social and political context.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.6000,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Steffani’s <i>Amor vien dal Destino</i>: new answers to old questions\",\"authors\":\"Colin Timms\",\"doi\":\"10.1093/em/caad039\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract Steffani made an important contribution to the cultivation of Italian opera in north Germany. Amor vien dal Destino must have been composed at Hanover in the 1690s but was not performed until 1709, at Düsseldorf. Several questions arise. Was it meant for 1694, the only year during his period at Hanover when there was no opera at the court? If so, why was it not performed? Why was it not performed before 1709? Why was it then staged at Düsseldorf? Why and how was the opera revised for that production? Who were the singers involved? Answers emerge from consideration of the Düsseldorf wordbook (especially its preface), of the autograph score and a hitherto neglected manuscript copy in Hanover, and of the circumstances of the two courts concerned. If these answers are correct, they demonstrate a close relationship between the opera and its social and political context.\",\"PeriodicalId\":44771,\"journal\":{\"name\":\"EARLY MUSIC\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.6000,\"publicationDate\":\"2023-10-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"EARLY MUSIC\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/em/caad039\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"EARLY MUSIC","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/em/caad039","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0

摘要

斯特法尼对意大利歌剧在德国北部的发展做出了重要贡献。《命运之爱》应该是17世纪90年代在汉诺威创作的,但直到1709年才在杜塞尔多夫演出。由此产生了几个问题。是指1694年吗?那是他在汉诺威期间唯一一年宫廷里没有歌剧。如果有,为什么没有执行?为什么在1709年之前没有演出?为什么要在塞尔多夫上演?这部歌剧为什么以及如何为这部作品而修改?参与其中的歌手是谁?答案来自于对d sseldorf单词手册(尤其是它的序言),亲笔乐谱和汉诺威迄今为止被忽视的手稿副本的考虑,以及有关的两个法院的情况。如果这些答案是正确的,它们就证明了这部歌剧与其社会和政治背景之间的密切关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Steffani’s Amor vien dal Destino: new answers to old questions
Abstract Steffani made an important contribution to the cultivation of Italian opera in north Germany. Amor vien dal Destino must have been composed at Hanover in the 1690s but was not performed until 1709, at Düsseldorf. Several questions arise. Was it meant for 1694, the only year during his period at Hanover when there was no opera at the court? If so, why was it not performed? Why was it not performed before 1709? Why was it then staged at Düsseldorf? Why and how was the opera revised for that production? Who were the singers involved? Answers emerge from consideration of the Düsseldorf wordbook (especially its preface), of the autograph score and a hitherto neglected manuscript copy in Hanover, and of the circumstances of the two courts concerned. If these answers are correct, they demonstrate a close relationship between the opera and its social and political context.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
EARLY MUSIC
EARLY MUSIC MUSIC-
CiteScore
0.20
自引率
0.00%
发文量
44
期刊介绍: Early Music is a stimulating and richly illustrated journal, and is unrivalled in its field. Founded in 1973, it remains the journal for anyone interested in early music and how it is being interpreted today. Contributions from scholars and performers on international standing explore every aspect of earlier musical repertoires, present vital new evidence for our understanding of the music of the past, and tackle controversial issues of performance practice. Each beautifully-presented issue contains a wide range of thought-provoking articles on performance practice. New discoveries of musical sources, instruments and documentation are regularly featured, and innovatory approaches to research and performance are explored, often in collections of themed articles.
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信