La Flûte Enchantée, Opéra Maçonnique: Essai D'explication Du Livret Et de la MusiqueA. A. Knopf, 1971 - 336 Seiten Mozart's opera The Magic Flute is universally recognized as a great masterpiece--and almost as universally accused of suffering from an incomprehensible, if not silly, libretto. The author demonstrates (with myriad examples from both the libretto and the music) that, far from making nonsense, the opera is crowded with the most profound meanings. Having demonstrated the inconsistency of the legend according to which the "stupidity" of the plot resulted from a midstream change of plan, he displays the coherence of the opera, uncovers the interrelated hidden significance of its characters and situations, and relates them all to the great cosmic myths of the esoteric tradition from which they emanate. Under the illumination so engagingly supplied by the author, The Magic Flute emerges as it really is: a rigorously constructed theater piece in which Mozart's wonderful music and the libretto by Emanuel Schikaneder (and others) fulfill and clarify one another. This is constructive scholarship at its most readable best--in a book that is alive with the atmosphere of eighteenth-century Vienna and with fascinating men and women, from sages and royal personages to grimy scoundrels, who supply many curious sidelights on politics, music, literature, religion, and freemasonry. |
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Seite 145
... chorale can have been dictated only by some detail of its text , which is by Luther himself ( 1524 ) . It is a ... chorale Christ unser Herr zum Jordan kam . That the two chorales bear some melodic resem- blance can be agreed to with ...
... chorale can have been dictated only by some detail of its text , which is by Luther himself ( 1524 ) . It is a ... chorale Christ unser Herr zum Jordan kam . That the two chorales bear some melodic resem- blance can be agreed to with ...
Seite 277
... chorale conforms to the traditional melody , though the B - natural on the word " himmelan " is sensitized by tonal antimodalism . The orig- inal stops at the penultimate phrase ( “ im Stande sein " ) ; Mozart added a final phrase ...
... chorale conforms to the traditional melody , though the B - natural on the word " himmelan " is sensitized by tonal antimodalism . The orig- inal stops at the penultimate phrase ( “ im Stande sein " ) ; Mozart added a final phrase ...
Seite 279
... chorale in parallel octaves ; flutes , oboes , and bassoons set it forth over four octaves ( in half- notes , which is to say in the authentic version , without the changes necessitated by the syllables of the words ) ; two trom- bones ...
... chorale in parallel octaves ; flutes , oboes , and bassoons set it forth over four octaves ( in half- notes , which is to say in the authentic version , without the changes necessitated by the syllables of the words ) ; two trom- bones ...
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allusion appears aria beginning Birdcatcher Cabinet of Reflection cadence century character chorale chords chorus comic composed Così fan tutte degree Die Zauberflöte duet E-flat major Egyptian Elements episode evokes fauxbourdon feminine initiation final Fire and Water flöte Freemason Freemasonry fugue G major Giesecke glockenspiel initiatory Isis Jacques Chailley Jules Boucher kingdom later Leopoldstadt libretto lodge Loge Maçonnerie magic flute masculine Masonic Masonry Massin Monostatos moral Mozart Nettl Night notes Oberon opera opéra-comique orchestra Overture Palou Pamina Papageno Paris Paul Nettl phrase play portrait preceding priests profane Queen represents rhythm rite ritual role rubric Salzburg Sarastro says Schikaneder Schikaneder's score serpent Sethos Seyfried significance silence Singspiel SPOKEN SCENE stage swoon symbolic Tamino Tamino and Pamina Temple Thamos theater theatrical Three Boys Three Ladies tion tonality traditional trial by Air trial by Earth trio Vienna violins voice Wisdom woman words Zauber Zauberflöte