The Magic Flute Pre-Opera Talk
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- Опубликовано: 17 окт 2024
- TDO Head of Music Staff Michael Heaston presents the Pre-Opera Talk for Mozart's The Magic Flute, April 2012.
The Joy and Ronald Mankoff Pre-Opera Talks are informative lectures that take place one hour before each TDO performance and are free to all patrons. For more information, visit dallasopera.org...
Scholarly while at the same time very reachable. Thanks Mo Heaston.
Magnificent. Clear and informative. Loved it.
Absolutely brilliant!!!!! Thank you!!!!
An excellent talk. I learnt so much. Thank you Michael Heaston.
very charming, informative "professor"--thank you dallas, thank you michael
Incredibly clear, enlightening and helpful. This really enriched my understanding of The Magic Flute. I thoroughly enjoyed this talk. Thank you so much.
The black or white comment is sad. Someone needs some enlightened thinking.
The Magic Flute was an opera based on the culmination of the fraternities: Rosecrutions, Illuminati, Jesuits and Freemasons. Contrary to popular belief, The Magic Flute was the product of several composers not just Mozart. This was a common practice because operas were expensive and laborious to produce. It also gave composers a chance to have their music exposed to the public. The text of the Magic Flute was written by a guy named Gieseke. Gieseke was Illuminati and friends with the composer and music publisher Hoffmeister (who was also a member of a fraternity). Gieseke later fled to Dublin where he changed his name and became a teacher of geology. In Mozart's day German composers were far and few between. French, Italian, Bohemian and even Polish composers ruled the day. In fact Mozart was virtually unknown until many years after his death. A private, not public composer sponsored by the elite. And there is much debate of whether or not he was poisoned, but evidence suggest that he was shunned by the Viennese establishment. It's a
multi-layered scenario that included Mozart gaining undue status and infidelity. Getting back to the Magic Flute, the score was sent back to Bonn for editing and revision. It's a masterpiece no doubt, but not the original version that was performed at its premiere.
"Contrary to popular belief, The Magic Flute was the product of several composers not just Mozart." Totally incorrect. Cite your sources, and I do not mean specious gossip. You might be confusing the Magic Flute with the singspiel "Der Stein der Weisen" which was composed for Emanuel Schikaneder's company by a "committee" of several composers, including Mozart in 1790, the year before the Magic Flute. "In fact Mozart was virtually unknown until many years after his death. A private, not public composer sponsored by the elite. " Again, cite your sources.
@@davidwahrheit6143. One such source which raises questions about Mozart's output would be reviewing the Kochel Catalogue, which was expanded or revised several times. For example, in 1965 many of the works attributed to Mozart were properly assigned to his father Leopold and other composers. Known as the "doubtful" listing of works not confirmed to be by W.A. Mozart, these pieces appear under the Anh. C catalogue of works. Wolfgang Kochel's collection of pieces by Amade Mozart (which is how Mozart generally wrote his name of his compositions) did not appear until 1862. According to a letter written by the publisher Simrock, written twenty years after Mozart's death, the score of the Magic Flute was sent back to Bonn for edit and revision. So what we now now as the Magic Flute is not the same score used at its premiere. The most popular opera just after the death of Mozart was not by Mozart. It was Oberon by Paul Wranitzsky. Wranitzsky was a Bohemian composer who lived in Vienna. His brother Anton was stationed in Bonn. And it is strongly believed by historians that Paul Wranitzsky had a major role in the creation and staging of the Marriage of Figaro. I'm not disputing that Mozart worked on Figaro, but he was not the only composer who had a hand in it. You have to remember that in those days there were no copyright laws. Plagarism was a common problem, with music publishing being controlled by men of the fraternal orders. Too often works contributed to a particular composer may have been actually written by another. Take the Jena Symphony by Frederick Witt. For a very long time it was wrongly attributed as an early work by Beethoven. Or take the music of J.S. Bach. Many of the pieces he his credited with composing, were actually transcriptions or arrangements of the music of Antonio Vivaldi. Just as Vivaldi was influenced by Legrenzi (who came before Vivaldi). Sorry for the lengthy response, but I wanted to give some perspective on the actual music climate and practices of the time.
Glück is considered the one who literally transformed Opera as we know it today and the Bach family was also very popular. Many of the greatest has ALWAYS been German.