• July 2, 2009 /  Uncategorized

    In an earlier post I wrote about a duet by Tamino and Papageno, “Pamina, wo bist du?”. I finally got around to locating a copy of the Edition Peters piano score to Die Zauberflöte mentioned by Herr Sawallisch. And sure enough, as an appendix is the duet “Pamina wo bist du?”. Interesting is the comment of the publisher. You can see it in the image below. I have made a translation that I hope is accurate.

    (From Edition Peters Nr. 4967)
    The following published duet between Tamino and Papageno is in a handwritten score of the “Zauberflöte” that was found by Georg Richard Kruse(1) in the archive of the Theater an der Wien. Hermann Dieters(2) has stated that he is skeptical regarding the authenticity of the piece based on stylistic and dramatic reasons. [He wrote, ]’The authenticity of this cannot yet be vouched for and it does not appear to me to fit very well in the dramatic context. Also, it falls considerably behind the musical level of the other pieces of the “Zauberflöte”‘
    Hermann Abert(3) felt he could recognize Mozart’s handwritting in the duet but concludes his statement with the following sentence: ‘Mozart later correctly struck this makeshift piece because it is not dramatically or musically at an appropriately high level.’
    The publisher sees no reason to recognize this piece as authentic.

    The notes are mine.
    (1) Georg Richard Kruse (* 17. Januar 1856 in Greifswald; † 23. Februar 1944 in Berlin) was a musicologist and well-known as an author on music for Reclam-Verlages.
    (2) Jahn, Otto. W.A. Mozart. 4. Auflage, edited and supplemented by Hermann Dieters. Leipzig: Breitkopf & Haertel, 1905-1907.
    (3) Prof. Dr. Hermann Abert (* 25. März 1871 in Stuttgart; † 13. August 1927 ebenda) was a music historian.

    Edition Peters, Nr. 4967, Page 183

    Edition Peters, Nr. 4967, Page 183

  • July 1, 2009 /  Commentary, Performances

    It must be obvious from this site that I am a big fan of Die Zauberflöte. And I really like many of Mozart’s other operas (Le Nozze di Figaro, Die Entführung aus dem Serail to name a couple). But along side these, my “desert island” collection would include lots of Beethoven.
    Mozart was a major influence on Beethoven. Beethoven traveled to Vienna during the period Mar.-May, 1787 to study with Mozart (but was called back to Bonn when his mother fell ill). He had great respect for Mozart. In 1796 Beethoven wrote in a letter “I have always counted myself amongst the greatest admirers of Mozart, and shall remain so until my last breath”.
    Beethoven wrote a number of variations based on themes from Mozart operas. He considered Die Zauberflöte to be Mozart’s best.
    In 1796, Beethoven wrote 12 Variations for Piano & Cello in F major on “Ein Mädchen oder Weibchen”, Op. 66. Here are variations one and two.

    In 1801 Beethoven wrote 7 Variations for Piano & Cello in E flat major on the duet “Bei Männern, welche Liebe fühlen”, WoO 46. Here is the first variation.

    These performances are from a recording of Beethoven Cello and Piano music with Pablo Casals and Rudolf Serkin, Sony CD SM2K 58985.
    The quote above is taken from The Beethoven Compendium, ISBN 0-500-27871-1