LEADER 06158oam 2200601 c 450 001 996509963903316 005 20220221094418.0 010 $a3-8394-4885-9 024 7 $a10.14361/9783839448854 035 $a(CKB)4940000000601832 035 $a(DE-B1597)583092 035 $a(OCoLC)1248759283 035 $a(DE-B1597)9783839448854 035 $a(MiAaPQ)EBC6564675 035 $a(Au-PeEL)EBL6564675 035 $a(transcript Verlag)9783839448854 035 $a(EXLCZ)994940000000601832 100 $a20220221d2021 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aOperatic Pasticcios in 18th-Century Europe$eContexts, Materials and Aesthetics$fBerthold Over, Gesa zur Nieden 205 $a1st ed. 210 $aBielefeld$ctranscript Verlag$d2021 215 $a1 online resource (798 p.) 225 0 $aMainzer Historische Kulturwissenschaften$v45 311 $a3-8376-4885-0 327 $tFrontmatter -- $tEditorial -- $tContent -- $tIntroduction -- $tThe World of Pasticcio Reflections on Pre-Existing T ext and Music -- $tItalian Pasticcio Opera, 1700-1750 Practices and Repertoires -- $t1. Pasticcio Principles in Different Arts -- $tAntoine Watteau?s pasticci -- $tPasticcio Practice in 18th-Century German Theater -- $tAdaptations of Stage Directions and Stage Designs in Pietro Metastasio? s drammi per musica -- $tBetween Dwarfs and Giants. Aesthetics of the Pasticcio between London and Hamburg -- $t2. Pasticcio vs. Pastiche -- $tThe Musical pasticcio: A Plea for a Readymade Ontology for the Musical Work -- $tPasticcio en littérature? -- $tOn the New Significance of the Pastiche in Copyright Law -- $t3. Traveling Musicians ? Traveling Music? -- $tA Voice of Two Cities: Francesco Borosini between the Habsburg Court and the Royal Academy -- $tDebts and Destiny New Findings on Antonio Maria Peruzzi and the Origin of His Opera Touring Business -- $tItalian operisti, Repertoire and the aria di baule: Insights from the Pirker Correspondence -- $tDido Abandoned? Shifts of Focus and Artistic Choices in Didone Pasticcios of the Mingotti Opera T roupe -- $tPalladio as a Tool for opera buffa Research. Mapping Opera Troupes and opera buffa Outside of Italy (1745-1765) -- $t4. Local Conditions of Pasticcio Production and Reception -- $tCollaboration, Arrangement, ?Dressing?: The Different Recipes for the pasticcio alla napoletana in the First Half of the 18th Century -- $tProduction of Opera Pasticcios in Venice in the Early 18th Century. The Impresario?s Role -- $tArtaserse (Rome, 1721), Nicola Porpora?s First Pasticcio -- $tSingers of the V iennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios -- $tThe Book of Pasticcios: Listening to Ormisda?s Material Texts -- $tBorrowed Voices. Legal Ownership of Insertion Arias in 18th-Century London -- $tLocal Conditions of Pasticcio Production and Reception: Between Prague, W roc?aw and Moravia -- $tThe Graz 1740 Pasticcio Amor, odio e pentimento: A Special Case or Mingottis? s Common Practice? -- $tA 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 -- $t5. Pasticcio Practices Beyond Opera -- $tBad Habits in Theater ? Late Forms of Operatic Pasticcios in Vienna Around 1800 -- $tDance in Pasticcios ? Pasticcios in Dance -- $tBallet Performance as Motivation for Pasticcio Practices ? Gluck? s and Berton?s Cythère assiégée (1775) -- $tThe Use of Extracts of Mozart? s Operas in Polish Sacred Music -- $tPasticcio da chiesa: Transforming Opera Arias into an Oratorio The Case of Contrafacted Oratorios in Wroc?aw and ?aga? from the Mid-18th Century -- $t6. Pasticcio Between Philology and Materiality -- $tApostolo 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 -- $tThe Musical and Physical Mobility of Material in Handel Sources -- $tPasticcios in Darmstadt? Christoph Graupner and the Use of Non-domestic Librettos in the Early 18th Century -- $tGluck?s Contribution to the Pasticcios Arsace and La finta schiava -- $tDigital Music Editions Beyond [Edited] Musical Text -- $tThe pasticci Tree: Manual and Computing Solutions -- $tWays of Replacement ? Loss and Enrichment -- $tEpilogue -- $tList of Contributors -- $tIndex of Persons -- $tIndex of Places 330 $aIn Early Modern times, techniques of assembling, compiling and arranging pre-existing material were part of the established working methods in many arts. In the world of 18th-century opera, such practices ensured that operas could become a commercial success because the substitution or compilation of arias fitting the singer's abilities proved the best recipe for fulfilling the expectations of audiences. Known as »pasticcios« since the 18th-century, these operas have long been considered inferior patchwork. The volume collects essays that reconsider the pasticcio, contextualize it, define its preconditions, look at its material aspects and uncover its aesthetical principles. 410 0$aMainzer Historische Kulturwissenschaften 606 $aOpera; Pastiche; Work Concept; Music Aesthetics; Arts; Cultural History; Art; Art History; European Art; Fine Arts; 610 $aArt History. 610 $aArt. 610 $aArts. 610 $aCultural History. 610 $aEuropean Art. 610 $aFine Arts. 610 $aMusic Aesthetics. 610 $aPastiche. 610 $aWork Concept. 615 4$aOpera; Pastiche; Work Concept; Music Aesthetics; Arts; Cultural History; Art; Art History; European Art; Fine Arts; 676 $a782.109033 686 $aLR 54171$2rvk 702 $aOver$b Berthold$4edt 702 $azur Nieden$b Gesa$4edt 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996509963903316 996 $aOperatic Pasticcios in 18th-Century Europe$93008765 997 $aUNISA