1. Forum
  2. Usenet
  3. REC.MUSIC.OPERA

  • "Die Zauberflote"

    From gggg gggg@21:1/5 to All on Tue Sep 14 21:15:48 2021
    According to this:

    - To use the terminology of the second Berlin Song School,
    they strove for the simplicity and the poignancy of the volkstiimliche Lied and not for the ambitious Kunstlied with its demand for professional singers and accompanists. Of course, such a creed was as much in accord with the European cultural tendencies that followed in the wake of Rousseau's philosophy as it was with the considered opinion of the foremost German song
    composers of that day: J. A. P. Schultz (born 1747), Reichardt (1752),
    Mozart, Zelter (1758), and even the young Beethoven. Perhaps Die Zauber- flote, still in the current repertory, is the best example of both popular and art song of the late German eighteenth century, since it encompasses Papa- geno's simple ditties as well as the complex speech and song of Tamino and Pamina (not to mention the coloratura arias of the Queen of the Night). It
    is significant that the simpler portions of the score continue to outshine the remainder in public favor. Of Papageno's tune which was used for Holty's
    "cold grave" as well as for Goethe's parody, Georges de Saint-Foix 15 says aptly: The motif of the latter . . . has remained the most popular of all of the themes of The Magic Flute. . .In contradistinction, the second part of the Lied, in a decidedly more accelerated rhythm (6/8), no longer seems to us of the same truly
    popular character. It is the deliberately folk-song-like first portion, not the 6/8 section with its distinctly Mozartean flavor, that has continued to exercise its charm upon the poets as well as the people.

    https://archive.org/stream/goethemusiclisto00ster/goethemusiclisto00ster_djvu.txt

    --- SoupGate-Win32 v1.05
    * Origin: fsxNet Usenet Gateway (21:1/5)
  • From gggg gggg@21:1/5 to gggg gggg on Fri Sep 17 22:17:29 2021
    On Tuesday, September 14, 2021 at 9:15:49 PM UTC-7, gggg gggg wrote:
    According to this:

    - To use the terminology of the second Berlin Song School,
    they strove for the simplicity and the poignancy of the volkstiimliche Lied and not for the ambitious Kunstlied with its demand for professional singers and accompanists. Of course, such a creed was as much in accord with the European cultural tendencies that followed in the wake of Rousseau's philosophy as it was with the considered opinion of the foremost German song
    composers of that day: J. A. P. Schultz (born 1747), Reichardt (1752), Mozart, Zelter (1758), and even the young Beethoven. Perhaps Die Zauber- flote, still in the current repertory, is the best example of both popular and
    art song of the late German eighteenth century, since it encompasses Papa- geno's simple ditties as well as the complex speech and song of Tamino and Pamina (not to mention the coloratura arias of the Queen of the Night). It is significant that the simpler portions of the score continue to outshine the
    remainder in public favor. Of Papageno's tune which was used for Holty's "cold grave" as well as for Goethe's parody, Georges de Saint-Foix 15 says aptly: The motif of the latter . . . has remained the most popular of all of the themes of The Magic Flute. . .In contradistinction, the second part of the Lied, in a decidedly more accelerated rhythm (6/8), no longer seems to us of the same truly
    popular character. It is the deliberately folk-song-like first portion, not the 6/8 section with its distinctly Mozartean flavor, that has continued to exercise its charm upon the poets as well as the people.

    https://archive.org/stream/goethemusiclisto00ster/goethemusiclisto00ster_djvu.txt

    (Youtube upload):

    Why Mozart's Magic Flute is a masterpiece - an introduction (The Royal Opera)

    --- SoupGate-Win32 v1.05
    * Origin: fsxNet Usenet Gateway (21:1/5)