Reworking Carissimi: Händels Bearbeitung des Schlusschores aus Jephte im Oratorium Samson (original) (raw)
Related papers
Musicologica Brunensia 53, 2018
The passion oratorio La morte di Cristo, attributed in two German sources from the late 18 th or early 19th century to Johann Adolf Hasse, was identified in 1976 by Reinhard Strohm as a sacred pasticcio, based on opera arias by Hasse and other composers of the Neapolitan school like Francesco Feo and Leonardo Leo. A comparison with surviving libretti shows that this pasticcio score is identical with the oratorio La vittima d'amore o sia la morte di Giesù Christo salvatore nostro, attributed to Josef Umstatt and performed 1741 in Brno and 1744 in Prague. Czech musicologists found out that one aria which hadn't been identified by Strohm, is a borrowing from Antonio Caldaras Viennese oratorio Morte e sepoltura di Cristo. A Berlin score of this work, which can be linked to a performance in Brno, has the words of the aria from La vittima d'amore written under the orginal text. Umstatt, who worked in Brno at the time when these performances took place, might have been the arranger of the pasticcio and composer of the sinfonia, the recitatives and the final chorus.
Göttinger Händel-Beiträge, 2002
A trio sonata attributed to Georg Friedrich Händel in a manuscript source from the Aylesford-Collection (HWV 395) can be proven to be a composition by Johann Adolf Hasse. The author describes alternative manuscript sources of the trio sonata, the work's mention in the Breitkopf Catalogues and a striking parallel with another chamber music work by Hasse, the quartet sonata in F major from the Schrank II collection in the the Sächsische Landesbibliothek / Staats- und Universitätsbibliothek Dresden.
Rund um Beethoven. Interpretationsforschung heute, 2019
"I have transformed a single sonata of mine into a quartet for violin instruments, which is why I was asked so much, and I know for a fact that another does not imitate me so easily." Beethoven's letter of 13 July 1802 to his publisher Breitkopf betrays some pride. His only arrangement of a piano sonata for string quartet is indeed much more than finger exercises, casual work or marketing. No, his transfer, made in the context of his groundbreaking Opus 18, seems so convincingly idiomatic that it has even been discussed as the original on several occasions. Read as a contribution to interpretation research, it is also an explanation, commentary on his own work. It thus imparts important knowledge on dynamics, phrasing, articulation, and can even shed new light on questions of editing. Where is Beethoven perhaps right with articulatory or dynamic distinctions that are noted in the critical report but levelled out - if not tacitly aligned? It is precisely in these surprising solutions that Beethoven clarifies compositional intentions. With inventive effects, he also directs his attention to tonal condensations. The article tries to give answers to open questions: To what extent does it clarify voice and movement? What are the consequences of the transposition by a semitone? How is the pedal effect implemented and what can be learned from it? The transplantation into the medium of the string quartet is no better than the original; it could not assert itself either but is interesting as an example - not least as a guide to arrangement. It is also a reenactment, but also traces of interpretations that can be found in arrangements and in the reception.
Zur Bearbeitungsgeschichte der Kantate "Wachet! betet! betet! wachet!" (BWV 70)
Bach-Jahrbuch, 2018
Johann Sebastian Bachs Kantate 'Wachet! betet! betet! wachet!' BWV 70 stellt bekanntlich die erweiterte Fassung einer Weimarer Komposition dar. Fragen, die die ursprüngliche Fassung betreffen, werden vor allem anhand der Instrumentierung erörtert. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)
Christoph Delz: Die Atmer der Lydia, Transkomposition für Orchester, Op. 5
Christoph Delz. Complete Works, Vol. 1, 2008
The Swiss composer Christoph Delz (1950-1993) used the technique of "transcomposition" in many of his works and meticulously transcribed sound recordings or other source material. In the present case of the orchestral piece "Die Atmer der Lydia" it is a recording of the breathing sounds of a woman giving birth, whereby the focus is less on the sounds of breathing than on their rhythmic structure and processuality. The result is an impressive orchestral work, which the author of the introductory text also illuminates in the context of contemporary "breath compositions" by Helmut Lachenmann and Heinz Holliger. The present text has been published as part of the CD-Edition Christoph Delz. Complete Works, Vol. 1 (2008).