Operatic Pasticcios in 18th-Century Europe : Contexts, Materials and Aesthetics.
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| Format: | eBook |
| Language: | English |
| Published: |
Bielefeld :
transcript,
2021.
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| Edition: | 1st ed. |
| Series: | Mainzer Historische Kulturwissenschaften
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| Subjects: | |
| Online Access: | Click to View |
Table of Contents:
- Cover
- Content
- Introduction
- The World of Pasticcio: Reflections on Pre-Existing Text and Music
- Italian Pasticcio Opera, 1700-1750: Practices and Repertoires
- 1. Pasticcio Principles in Different Arts
- Antoine Watteau's pasticci
- Pasticcio Practice in 18th-Century German Theater
- Adaptations of Stage Directions and Stage Designs in Pietro Metastasio's drammi per musica
- Between Dwarfs and Giants. Aesthetics of the Pasticcio Between London and Hamburg
- 2. Pasticcio vs. Pastiche
- The Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work
- Pasticcio en littérature?
- On the New Significance of the Pastiche in Copyright Law
- 3. Traveling Musicians - Traveling Music?
- A Voice of Two Cities: Francesco Borosini Between the Habsburg Court and the Royal Academy
- Debts and Destiny: New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business
- Italian operisti, Repertoire and the aria da baule: Insights from the Pirker Correspondence
- Dido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera Troupe
- Palladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765)
- 4. Local Conditions of Pasticcio Production and Reception
- Collaboration, Arrangement, 'Dressing': The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century
- Production of Opera Pasticcios in Venice in the Early 18th Century. The Impresario's Role
- Artaserse (Rome, 1721), Nicola Porpora's First Pasticcio
- Singers of the Viennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios
- The Book of Pasticcios: Listening to Ormisda's Material Texts
- Borrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London.
- Local Conditions of Pasticcio Production and Reception: Between Prague, Wrocław and Moravia
- The Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis's Common Practice?
- A Granted Royal Wish, or Carlo Goldoni's La buona figliuola with Music by Niccolò Piccinni and Il mercato di Malmantile with Music by Domenico Fischietti, Staged in Warsaw in 1765
- 5. Pasticcio Practices Beyond Opera
- Bad Habits in Theater - Late Forms of Operatic Pasticcios in Vienna Around 1800
- Dance in Pasticcios - Pasticcios in Dance
- Ballet Performance as Motivation for Pasticcio Practices - Gluck's and Berton's Cythère assiégée (1775)
- The Use of Extracts of Mozart's Operas in Polish Sacred Music
- Pasticcio da Chiesa: Transforming Opera Arias into an Oratorio. The Case of Contrafacted Oratorios in Wrocław and Żagań from the Mid-18th Century
- 6. Pasticcio Between Philology and Materiality
- Apostolo Zeno's Venceslao (Venice 1703) and its Pasticcio Version Vincislao re di Polonia (London 1717). A Case Study with Stops in Florence, Milan and Naples
- The Musical and Physical Mobility of Material in Handel Sources
- Pasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century
- Gluck's Contribution to the Pasticcios Arsace and La finta schiava
- Digital Music Editions Beyond [Edited] Musical Text
- The pasticci Tree: Manual and Computing Solutions
- Ways of Replacement - Loss and Enrichment
- Epilogue
- List of Contributors
- Index of Persons
- Index of Places.