LEADER 00000cam a2201213 i 4500 001 on1248759283 003 OCoLC 005 20220702022102.0 006 m o d 007 cr cnu---unuuu 008 210421t20212021gw fo 000 0 eng d 020 9783839448854|q(electronic book) 020 3839448859|q(electronic book) 024 7 10.14361/9783839448854|2doi 035 (OCoLC)1248759283 040 DEGRU|beng|erda|epn|cDEGRU|dEBLCP|dN$T|dOCLCO|dOCLCF |dYDXIT|dOCLCQ|dOCL|dOCLCO|dYDX|dOCLCO 043 e------ 049 RIDW 050 4 ML1720.3|b.O64 2021 050 4 PN1475 082 04 782.109033|223 082 04 709.04|223 090 ML1720.3|b.O64 2021 090 PN1475 245 00 Operatic Pasticcios in 18th-Century Europe :|bContexts, Materials and Aesthetics /|cBerthold Over, Gesa zur Nieden (eds.). 264 1 Bielefeld :|bTranscript,|c[2021] 264 4 |c©2021 300 1 online resource (798 pages). 336 text|btxt|2rdacontent 337 computer|bc|2rdamedia 338 online resource|bcr|2rdacarrier 340 |gpolychrome|2rdacc 347 text file 347 |bPDF 490 1 Mainz historical cultural sciences ;|vvolume 45 505 00 |tFrontmatter --|tEditorial --|tContent --|tIntroduction - -|tWorld 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 --|tMusical 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 Viennese Kärntnertortheater in the 1730s in the Light of Aria Substitutions and Pasticcios --|tBook 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 rocław and Moravia --|tGraz 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) --|tUse 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 Wroclaw and Zagan 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 --|tMusical 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 --|tPasticci Tree: Manual and Computing Solutions --|tWays of Replacement -- Loss and Enrichment --|tEpilogue --|tList of Contributors --|tIndex of Persons --|tIndex of Places. 520 In 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 546 In English. 588 0 Online resource; title from digital title page (viewed on November 05, 2021). 590 eBooks on EBSCOhost|bEBSCO eBook Subscription Academic Collection - North America 648 7 18th century|2fast 648 7 1700-1799|2fast 650 0 Opera|zEurope|0https://id.loc.gov/authorities/subjects/ sh2010104420|y18th century.|0https://id.loc.gov/ authorities/subjects/sh2002012474 650 0 Pasticcio.|0https://id.loc.gov/authorities/subjects/ sh85098556 650 0 Operas|y18th century.|0https://id.loc.gov/authorities/ subjects/sh85094920 650 7 Opera.|2fast|0https://id.worldcat.org/fast/1046145 650 7 Operas.|2fast|0https://id.worldcat.org/fast/1046191 650 7 Pasticcio.|2fast|0https://id.worldcat.org/fast/1054514 650 7 ART|xHistory|xGeneral.|2bisacsh 651 7 Europe.|2fast|0https://id.worldcat.org/fast/1245064 653 Art History. 653 Art. 653 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