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, 2001 Eine Praxis im Bereich der weltlichen oder geistlichen musikdramatischen Komposition (opera seria, opera buffa, Oratorium), einzelne Musikstücke verschiedener Komponisten auf ein überarbeitetes oder neu geschaffenes Libretto zu einem neuen Werk zusammenzufassen (frz. pastiche, eig. „die Pastete“).
Curtis Price
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Artaserse (Rome, 1721), Nicola Porpora’s First Pasticcio
Mainzer Historische Kulturwissenschaften, 2021 Nie ...
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Pasticcio-Daten und Daten-Pasticcio – zur Edition kompilierter musikalischer Werke
editio, 2020Abstract This text, which was written by members of the project Pasticcio. Ways of arranging attractive operas, uses Gérard Genette’s term ‘paratext’ in a broader sense. Assuming that every text besides the edited work, which is part of the genesis of these oscillating works compiled of pre-existing musical material called pasticcios ...
Pelliccia, Emilia +3 more
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2005
The study is the first to engage in a detailed examination of imagery in the works of the Milanese engineer, philosopher, and writer Carlo Emilio Gadda (1893-1973). It explores different kinds of imagery in Gadda's letters, in his texts on poetology, literary criticism, and art criticism, and in his novels -La cognizione del dolore- and -Quer ...
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The study is the first to engage in a detailed examination of imagery in the works of the Milanese engineer, philosopher, and writer Carlo Emilio Gadda (1893-1973). It explores different kinds of imagery in Gadda's letters, in his texts on poetology, literary criticism, and art criticism, and in his novels -La cognizione del dolore- and -Quer ...
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ORAZIO: THE HISTORY OF A PASTICCIO
The Musical Quarterly, 1952AFTER Pergolesi's death from consumption at the age of twentysix, his fame spread rapidly all over Europe. Foreign visitors to Italy, such as De Brosses and the poet Gray, acquired manuscript copies of his works and played their part in creating an extraordinary vogue, a sort of Pergolesi-fever, which seized on the Continent and reached its climax in ...
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Vivaldi and the Pasticcio: Text and Music in Tamerlano
1995Abstract In his seminal essay ‘Towards an Understanding of the Opera seria’,1 Reinhard Strohm questions the validity of the concept of the individual ‘work’ when dealing with Italian operatic practice of the early eighteenth century. Instead, he advocates viewing operas of this period as ‘productions’, dominated less by the wishes of ...
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