Results 1 to 10 of about 2,812 (119)
The Art of ‘Cooking’ a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas
Musicology Today, 2021 Despite the rather pejorative implications that the musical pasticcio has today, it may have been an appreciated art form in the seventeenth and eighteenth centuries.
Over Berthold
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Pasticcio, Arrangement, or Adaptation? Georg Philipp Telemann's Pasticcio Judith Based on Fortunato Chelleri's dramma per musica Innocenza difesa [PDF]
Musicology Today, 2021 In musicological research on the eighteenth-century operatic pasticcio it has often been discussed how pasticci can be distinguished from dramme per musica.
zur Nieden Gesa
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Pasticcio and Pleasure. L’abbandono di Armida (Venice 1729)
Musicology Today, 2021 Operatic pasticcio and the need for experiencing pleasure were inseparable in eighteenth-century operatic theatre, as can be demonstrated on the example of L’abbandono di Armida, a pasticcio that was performed in the Venetian Teatro San Giovanni ...
Markuszewska Aneta
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Musicology Today, 2021 Allowedly, singers of Baroque opera could influence the final musical and dramaturgical shape of the work. In our paper, we will focus on a case study of Hasse's compositional process, which will serve as a platform for presenting the digital outputs of ...
Pelliccia Emilia, Rzepka Sonia
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Just for the Ladies? Compilation, Knowledge Practice and Pasticcio in England around 1720
Musicology Today, 2021 In 1719, the Royal Academy of Music was founded with the purpose of setting Italian opera in England on solid ground. Previously, at least two thirds of the Italian operas staged in London had been pasticci.
Knoth Ina
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Scipione impasticciato: Performing, Researching and Reviving London operas from 1730–1731
Musicology Today, 2021 The study discusses practical and aesthetic aspects of the pasticcio principle, which characterised London's Italian operas of 1730–31 and still concern revivals, source research, and editions today.
Strohm Reinhard
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Musicology Today, 2021 Determining in an unequivocal and definitive way what the Italian dramma per musica was in the eighteen century is only apparently an easy task. Starting with a discussion of the definition of eighteen century Italian dramma per musica as a variable ...
Polin Giovanni
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Between Opera and Oratorio. The Pasticcio Oratorios in Prague and Brno ca 1720–1760
Musicology Today, 2021 The phenomenon of the pasticcio oratorio was quite widespread in the Czech Lands around the middle of the eighteenth century. The first evidence of this practice was a Latin oratorio based on opera arias by George Frideric Handel (Prague 1725).
Spáčilová Jana
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Pastiching as Artistic Research: Ifigenia / Ipermestra (Brussels, 2006)*
Musicology Today, 2021 On 6 December 2006, students of the Royal Conservatoire of Brussels performed two one-act pasticci arranged by the author of this article: Ifigenia and Ipermestra. Assembled as experiments in the young discipline of artistic research in music, both ‘cut &
Forment Bruno
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Handel recovering: fresh light on his affairs in 1737 [PDF]
, 2008 The summer and autumn of 1737 remain a foggy patch in Handel biography owing to poor documentation and Handel’s absence from London. We do not know whether his illness led to a rapprochement with the ‘Nobility’ opera, how his visit to Aix-la-Chapel ...
Chrissochoidis, I.
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