La Flûte Enchantée, Opéra Maçonnique: Essai D'explication Du Livret Et de la MusiqueA. A. Knopf, 1971 - 336 páginas 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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Página 89
... fugue . It establishes the female order described by the introductory adagio , just as the second establishes the male order described by the fugue . The former is depicted amid elements com- monly employed for this purpose in the ...
... fugue . It establishes the female order described by the introductory adagio , just as the second establishes the male order described by the fugue . The former is depicted amid elements com- monly employed for this purpose in the ...
Página 179
... fugue at Bologna with Padre Martini , had discovered , while studying Bach in about 1782 at the instigation of Baron van Swieten , that this way of writing could " also " have artistic value . . . . We know how much his composing was ...
... fugue at Bologna with Padre Martini , had discovered , while studying Bach in about 1782 at the instigation of Baron van Swieten , that this way of writing could " also " have artistic value . . . . We know how much his composing was ...
Página 182
... fugue , but to the section that follows ( 154 = 39 ) , which is justified by the fact that the latter begins with an artifice that , in the present case , constitutes an " artful " compromise between fugue , the procedure chosen here ...
... fugue , but to the section that follows ( 154 = 39 ) , which is justified by the fact that the latter begins with an artifice that , in the present case , constitutes an " artful " compromise between fugue , the procedure chosen here ...
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Términos y frases comunes
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