GRABMUSIK BASTIEN UND BASTIENNE - Concerto Arts
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
GRABMUSIK
BASTIEN UND BASTIENNE
CLASSICAL OPERA
I A N PA G E ( C O N D U C T O R )WOLFGANG
WOLFGANG
AMADEUS AMADEUS
MOZART (1756
MOZART
- 1791) (1756 - 1791)
GRABMUSIK,
GRABMUSIK,
K.42/35a (original
K.42/35a
1767 version)
(original 1767 version)
Librettist unknown
Librettist unknown
Performance material: New
Performance
Mozart Edition
material:
(NMA)
New Mozart Edition (NMA)
By kind permission of Bärenreiter-Verlag
By kind permission of Bärenreiter-Verlag DER ENGEL DER ENGEL ANNA LUCIA RICHTER
ANNA LUCIA RICHTER soprano
soprano
Kassel · Basel · London Kassel
· New·York
Basel· Praha
· London · New York · Praha
Recorded at BlackheathRecorded
Concert Halls,
at Blackheath
Blackheath,
Concert
London,
Halls,
UKBlackheath,
from 7 to 9London,
January UK
2018
from 7 to 9 January 2018 DIE SEELE DIE SEELE JACQUES IMBRAILO
JACQUES
baritoneIMBRAILO baritone
Produced and engineered Produced
by Andrew
and engineered
Mellor by Andrew Mellor
Assistant engineer: ChrisAssistant
Kalcov engineer: Chris Kalcov
Editing: Andrew Mellor Editing: Andrew Mellor
Mix & Mastering: Andrew MixMellor
& Mastering: Andrew Mellor BASTIEN UND
BASTIEN
BASTIENNE,
UND BASTIENNE,
K.50 (original 1768
K.50version)
(original 1768 version)
Design by Toucari Live and
Design
Classical
by Toucari
OperaLive and Classical Opera
Cover image by DebbieCoverCoatesimage by Debbie Coates Libretto by F. W.Libretto
Weiskern
by F.&W.
J. H.
Weiskern
F. Müller& J. H. F. Müller
Photographs by Benjamin Photographs
Ealovega by Benjamin Ealovega
German language coach: German
Dominik
language
Denglercoach: Dominik Dengler
Harpsichord technician: Harpsichord
Malcolm Greenhalgh
technician: Malcolm Greenhalgh
BASTIENNE BASTIENNE ANNA LUCIA RICHTER
ANNA LUCIA RICHTER soprano
soprano
Orchestra playing on period
Orchestra
instruments
playingaton
A=period
430 instruments
Hz at A = 430 Hz BASTIEN BASTIEN ALESSANDRO FISHER
ALESSANDRO
tenor FISHER tenor
This recording is generously
This recording
supported isbygenerously
George &supported
Efthalia Koukis
by George
and usada.
& Efthalia Koukis and usada. COLAS COLAS DARREN JEFFERY bass-baritone
DARREN JEFFERY bass-baritone
We are also grateful toWe
the are
following
also grateful
individuals
to the
forfollowing
their generous
individuals
support:
for their
Sir Vernon
generous
& Lady
support:
Ellis,Sir
Kate
Vernon & Lady Ellis, Kate
Bingham & Jesse Norman,Bingham
Pearce& &Jesse
Beaujolais
Norman,Rood,
PearceJoe && Beaujolais
Christine Swanson
Rood, Joeand
& Christine
Michael Swanson
& Rosemary and Michael & Rosemary THE
MOZARTISTS THE MOZARTISTS
Warburg. Warburg.
Leader: MatthewLeader:
Truscott Matthew Truscott
Special thanks to: Biblioteka
Special
Jagiellońska
thanks to: Kraków,
BibliotekaJo Jagiellońska
Ramadan, Alice
Kraków,
Bellini,
Jo Ramadan,
Léa Hanrot,
Alice
Martin
Bellini,
Kendrick,
Léa Hanrot, Martin Kendrick,
William Thorp and LyricWilliam
Hammersmith.
Thorp and Lyric Hammersmith. IAN PAGE conductor
IAN PAGE conductor
2 MOZART / GRAB
2 M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N 3U N D B A S T I E N N E 3Page Page
GRABMUSIK,GRABMUSIK,
K.42/35a (original
K.42/35a (original
1767 version ) 1767 version) 12 No. 4, Aria: “Befraget
12 No.mich
4, Aria:
ein zartes
“Befraget
Kind”mich ein zartes Kind” (Colas)
(Colas) 1’04 29 1’04 29
Page Page
13 Dialogue: “Guten Dialogue:
13Morgen, Herr
“Guten
Colas!”
Morgen, Herr Colas)
(Bastienne, 1’59
Colas!” (Bastienne, Colas) 30 1’59 30
1 No. 1, Recitative:1 “Wo
No.bin
1, Recitative:
ich? bittrer “Wo
Schmerz!”
bin ich?
(Diebittrer
Seele) 1’02
Schmerz!” (Die Seele) 15 1’02 15
14 No. 5, Aria: “Wenn
14 No.
mein5,Bastien
Aria: “Wenn
im Scherze”
mein Bastien 2’36
im Scherze” (Bastienne)
(Bastienne) 32 2’36 32
2 No. 2, Aria: “Felsen,
2 No. 2, Aria:
spaltet euren“Felsen,
Rachen”spaltet euren Rachen” (Die Seele) 6’02
(Die Seele) 15 6’02 15
15 Dialogue: “O, die
15 Edelfrau
Dialogue:
vom“O,
Schloß”
die Edelfrau
(Colas)vom Schloß” (Colas) 0’18 33 0’18 33
3 No. 3, Recitative:3“Geliebte
No. 3, Recitative:
Seel’, was“Geliebte
redest du?”
Seel’,
(Derwas redest du?” (Der1’04
Engel) Engel) 16 1’04 16
16 No. 6, Aria: “Würd
16 No. 6, Aria:
ich auch, wie“Würd
manche
ichBuhlerinnen”
auch, wie manche Buhlerinnen”1’17
(Bastienne) 33
(Bastienne) 1’17 33
4 No. 4, Aria: “Betracht
4 No.dies
4, Aria:
Herz und
“Betracht
frage dies
mich”Herz
(Derund 4’06 16
frage mich” (Der Engel)
Engel) 4’06 16
17 Dialogue: “Gib 17
dichDialogue:
zufrieden!”“Gib dichBastienne)
(Colas, zufrieden!” (Colas, Bastienne) 1’01 33 1’01 33
5 No. 5, Accompanied
5 No.recitative:
5, Accompanied recitative:
“O Himmel! was ein“O
traurig Licht”was ein 1’16
Himmel! 17
traurig Licht” 1’16 17
(Die Seele) (Die Seele) 18 No. 7, Duet: “Auf18den
No.
Rat,7,den
Duet:
ich“Auf
gegeben”
den Rat,(Colas,
den ichBastienne) 1’33 34
gegeben” (Colas, Bastienne) 1’33 34
6 No. 6, Duet: 6 No.
“Jesu, was 6, Duet:
hab’ ich getan?”
“Jesu, was hab’
(Der ich getan?”
Engel, Die Seele) 4’44
(Der Engel, Die 17
Seele) 4’44 17
SCENE THREE SCENE THREE
19 Dialogue: “Dieses Dialogue: “Dieses
19 Liebhaberpaar ist wahrlich
Liebhaberpaar
ein rechtes
ist Wunderwerk”
wahrlich ein rechtes0’41
Wunderwerk”
35 0’41 35
BASTIEN UND
BASTIEN
BASTIENNE,
UND BASTIENNE,
K.50 (original 1768
K.50 (original
version ) 1768 version) (Colas) (Colas)
SCENE FOUR SCENE FOUR
7 Intrada 7 Intrada 1’40 28 1’40 28
20 No. 8, Aria: “Großen
20 No. 8, Aria:
Dank dir abzustatten”
“Großen Dank dir abzustatten” (Bastien)
(Bastien) 1’25 36 1’25 36
SCENE ONE SCENE ONE
21 Dialogue: “Es freut Dialogue:
21 mich, daß du
“Esendlich
freut mich,
zu dir”
daß(Colas,
du endlich zu dir” (Colas,0’41
Bastien) Bastien)36 0’41 36
8 No. 1, Aria: “Mein No. 1, Aria:
8 liebster Freund“Mein
hat mich
liebster
verlassen”
Freund (Bastienne) 1’56 28
hat mich verlassen” (Bastienne) 1’56 28
22 No. 9, Aria: “Geh! No.sagst
22 du 9, Aria:
mir eine
“Geh!
Fabel”
du sagst mir eine Fabel” (Bastien)
(Bastien) 1’17 38 1’17 38
9 Dialogue: “Du fliehst
9 Dialogue:
von mir, Bastien?”
“Du fliehst(Bastienne)
von mir, Bastien?” (Bastienne) 0’45 28 0’45 28
23 Dialogue: “Das 23
kannDialogue:
sein” (Colas,
“DasBastien)
kann sein” (Colas, Bastien) 1’18 38 1’18 38
10 No. 2, Aria: “Ich10gehNo. 2,auf
jetzt Aria:
die“Ich
Weide”
geh jetzt auf die Weide” (Bastienne)
(Bastienne) 1’34 29 1’34 29
24 No. 10, Aria: “Tätzel,
24 No. 10, Aria:
Brätzel, Schober,
“Tätzel,
Kober”
Brätzel, Schober, Kober” (Colas)1’20
(Colas) 40 1’20 40
SCENE TWO SCENE TWO
25 Dialogue: “Ist die Dialogue:
25Hexerei zu Ende?”
“Ist die(Bastien,
Hexerei Colas)
zu Ende?” (Bastien, Colas) 0’21 40 0’21 40
11 No. 3: Entrance11
of Colas
No. 3: Entrance of Colas 0’18 29 0’18 29
4 MOZART / GRAB
4 M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N 5U N D B A S T I E N N E 5SCENE FIVE Page
26 No. 11, Aria: “Meiner Liebsten schöne Wangen” (Bastien) 3’02 41
SCENE SIX
27 Dialogue: “Da ist sie” (Bastien, Bastienne) 1’03 42
28 No. 12, Aria: “Er war mir sonst treu und ergeben” (Bastienne) 2’26 43
29 Dialogue: “O, ich sehe schon, was dich verdrießt” (Bastien, Bastienne) 0’59 44
30 No. 13, Aria: “Geh hin!” (Bastien, Bastienne) 5’53 45
31 Dialogue: “Siehe da! bist du noch hier?” (Bastienne, Bastien) 0’33 46
32 No. 14, Accompanied recitative: “Dein Trotz vermehrt sich durch 0’50 47
mein Leiden?” (Bastien, Bastienne)
33 Dialogue: “Und sollte ich wohl ein solcher Narr sein” (Bastien, Bastienne) 0’25 47
34 No. 15, Duet: “Geh! geh! geh, Herz von Flandern!” (Bastienne, Bastien) 5’18 48
SCENE SEVEN
35 No. 16, Trio: “Kinder! Kinder! seht, nach Sturm und Regen” 3’06 51
(Colas, Bastienne, Bastien)
APPENDIX
36 No. 10, Aria (2nd version, 1769): “Diggi, daggi, schurry, murry” (Colas) 1’30 53
6 MO Z A RT / G R A BM USI K & BASTI E N U N D BASTI E N N E Total Playing Time: 66’24The Mozartists
Violin 1 Flute
Matthew Truscott (leader) Katy Bircher
Daniel Edgar Eva Caballero
Hannah Tibell
Malu Lin Swayne Oboe
George Clifford James Eastaway
Rachel Chaplin
Violin 2
Liz MacCarthy Bassoon
Nia Lewis Philip Turbett
Kirsten Klingels
Naomi Burrell Horn
Gavin Edwards
Viola Nick Benz
Mark Braithwaite
Marina Ascherson Harpsichord
Steven Devine (continuo)
Cello
Alex Rolton (continuo)
Pedro da Silva
Double bass
Carina Cosgrave (continuo)
MO Z A RT / G R A BM USI K & BASTI E N U N D BASTI E N N E 9Classical Opera & The Mozartists
Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart
and his contemporaries, and has emerged as one of the leading exponents in its field. In
2017 it launched a new brand, The Mozartists, enabling it to broaden its ever-expanding
concert work while continuing to present recordings and performances of complete operas
under the name of Classical Opera. With its own acclaimed period-instrument orchestra, the
company has attracted widespread critical and public recognition, not only for the high quality
of its performances but also for its imaginative programming and its ability to discover and
nurture outstanding young singers. In 2015 it launched MOZART 250, a ground-breaking
27-year project following the chronological trajectory of Mozart’s life, works and influences.
Classical Opera has performed regularly at many of London and the UK’s leading venues,
including Wigmore Hall, the Barbican, Sadler’s Wells, Birmingham Town Hall and Bridgewater
Hall, Manchester, and on tour in Italy, France, Germany and Austria, where it enjoyed a
three-concert residency at the 2016 Eisenstadt Haydn Festival. It has mounted staged
productions of many of Mozart’s operas, and in 2009 presented The Royal Opera’s new
production of Thomas Arne’s Artaxerxes. It has also given the world première of the ‘original’
version of Mozart’s Mitridate, re di Ponto, and the UK premières of Gluck’s La clemenza di
Tito, Telemann’s Orpheus and Jommelli’s Il Vologeso.
Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007, re-
released on Signum Classics, 2014) and ‘Blessed Spirit – a Gluck retrospective’ (Wigmore
Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice.
In May 2016 the company released ‘Where’er You Walk’, with tenor Allan Clayton, which
was shortlisted for the 2017 International Opera Awards, and this was followed in May
2017 by The Mozartists’ début recording ‘Perfido!’, a programme of Mozart, Haydn and
Beethoven concert arias featuring soprano Sophie Bevan. This current recording is the seventh
release in Classical Opera’s complete recording cycle of Mozart’s operas.
MO Z A RT / G R A BM USI K & BASTI E N U N D BASTI E N N E 11Grabmusik –Grabmusik
an introduction
– an by
introduction
Ian Page by Ian Page Holy Week 1767. The Holy anonymous
Week 1767. textThe
takesanonymous
the form oftexta dialogue
takes the between
form of a adialogue
tormented between a tormented
soul, who is desperately
soul, who
lamenting
is desperately
the tragedy lamenting
of Christ’s
the death,
tragedyand of Christ’s
an angel. death,
When and an angel. When
the work was revivedtheinwork
the mid-1770s,
was revivedMozart in the mid-1770s,
added a final Mozart
recitative
added anda chorus,
final recitative
but and chorus, but
On 9 June 1763, the On seven-year-old
9 June 1763, Mozart the seven-year-old
and his familyMozartset off
andfrom
his their
familyhome
set off
in from their home in
this recording preserves
this recording
the original’s
preserves
taut intensity
the original’s
by ending taut intensity
with the by
conciliatory
ending with duetthe conciliatory duet
Salzburg and embarkedSalzburgon and
a Grandembarked
Tour that
on awas Grand
to last
Tourfor that
threewas
andtoalast
halfforyears.
three and a half years.
between the Soul andbetween
the Angel.
the Soul and the Angel.
The impact of this The
formative
impacttrip,of which
this formative
includedtrip,six which
monthsincluded
in Paris,six
fifteen
months
months
in Paris,
in fifteen months in
London and shorter London
stays in and
manyshorter
of northern
stays in
Europe’s
many ofother
northern
leadingEurope’s
musical other
centres,
leading canmusical centres, can
The Soul’s openingThe ariaSoul’s
is a opening
piece of ariastaggering
is a piece
turbulence
of staggering
and force,
turbulence
and Mozart and force, and Mozart
scarcely be over-estimated,
scarcely andbe over-estimated,
by the time heand arrived
by the
hometimeonhe29arrived
Novemberhome 1766,
on 29 November 1766,
probably never wroteprobably
anythingnever
morewrote
challenging
anything and
morevirtuosic
challenging
for the bass
and virtuosic
voice. Repeated
for the bass voice. Repeated
less than two months lessbefore
than twohis eleventh
months before
birthday,
his Mozart
eleventhalready
birthday,hadMozart
a remarkable
already had a remarkable
staccato high F sharps,
staccato
cascading
high F triplets
sharps,and cascading
jagged triplets
octaveand leapsjagged
combine octaveto evoke
leapsacombine to evoke a
portfolio of compositions
portfolioto of
hiscompositions
name. It musttohave his name.
been hard
It mustforhave
localbeen
musicians
hard for andlocal musicians and
frenzied exhortationfrenzied
to Nature exhortation
to break to itself
Nature
asunderto break
in the itself
wakeasunder
of Christ’s
in thedeath,
wakeand of Christ’s death, and
dignitaries to fathomdignitaries
the full extent
to fathom
of the the
young
full extent
boy’s fame
of theand
young success,
boy’s and
fameinanda report
success, and in a report
the orchestra already
themakes
orchestra
a pivotal
already
contribution
makes a pivotal
to the dramatic
contributionsoundscape;
to the dramaticthe short
soundscape; the short
that he submitted tothatLondon’s
he submitted
Royal Society
to London’s
in 1769RoyalMrSociety
DainesinBarrington,
1769 Mr Daines
an English Barrington, an English
middle section evenmiddle
manages section
to heighten
even manages
the tensionto heighten
still further,
theshifting
tensionfrom
still further,
D major shifting
to from D major to
lawyer who had met lawyer
Mozartwhoinhad London
met Mozart
and subjected
in Londonhim andto ansubjected
extensivehim series
to anof extensive series of
D minor and divingDheadlong
minor and into
diving
harmonies
headlong of startling
into harmonies
adventurousness.
of startling adventurousness.
musical tests, reported
musical
the following
tests, reported
anecdote:
the following anecdote:
“The prince of Saltzbourg,
“The princenot crediting
of Saltzbourg,
that such
not crediting
masterly compositions
that such masterly
were compositions were This visceral outburstThis
is answered
visceral outburst
astutelyis and
answered
sympathetically
astutely and
by the
sympathetically
Angel, firstlyby
in the
a Angel, firstly in a
really those of a child,
really
shutthose
him upof a
forchild,
a week,
shut during
him upwhich
for a week,
he wasduring
not permitted
which he was not permitted short recitative and then
shortinrecitative
a tenderandG minor
then inaria
a tender
full of compassion
G minor ariaand
full warmth.
of compassion
Particularly
and warmth. Particularly
to see any one, andtowas seeleft
anyonly
one,
with
andmusic
waspaper,
left onlyand
withthemusic
wordspaper,
of anand
oratorio.
the words of an oratorio. effective, and affecting,
effective,
is the and
wayaffecting,
the music issuddenly
the waybreaks
the music
off suddenly
mid-phrase breaks
beforeoffmelting
mid-phrase before melting
into the final adagio,intoin the
which
finalthe Angel urges
adagio, in which
the the
SoulAngel
to calm
urges
histhe
furySoul
andtodissolve
calm his into
fury and dissolve into
“During this short time
“During
he composed
this short time
a very
he capital
composedoratorio,
a verywhich
capital
wasoratorio,
most which was most
penitence. penitence.
highly approved of highly
upon being
approved
performed.”
of upon being performed.”
Musicologists believeMusicologists
that the short
believe
cantatathatGrabmusik
the short cantata
was theGrabmusik
result of thiswas challenge,
the result of this challenge,This is followed by Thisa second
is followed
recitative
by aforsecond
the Soul,
recitative
this time
for accompanied
the Soul, this time
by the
accompanied
full by the full
and although there isand
no although
definitivethere
documentary
is no definitive
proof for
documentary
this assumption,
proof itforis this
undoubtedly
assumption, it is undoubtedly string section to suggest
stringthesection
slow todawning
suggest ofthecomfort
slow dawning
and hope of in
comfort
his mind,
andand hopethisininhis mind, and this in
one of the most remarkable
one of the works
mostofremarkable
Mozart’s prodigious
works of Mozart’s
childhood. prodigious childhood. turn leads into the redemptive
turn leads into finalthe
duet,
redemptive
in whichfinalthe Soul
duet,isingradually
which thedrawn
Soul isinto
gradually
the drawn into the
Angel’s consoling, healing
Angel’sand consoling,
ultimatelyhealing
uplifting
andpower.
ultimately
Withuplifting
this remarkable
power. With
yet curiously
this remarkable yet curiously
The performance during
The performance
Holy Week of during
a scenic
Holyoratorio
Week of before
a scenic
an image
oratorio orbefore
relief ofanthe little-known work, the
image or relief of the little-known
young Mozart work,already
the youngshows
Mozart
himself
already
to be shows
capablehimself
of transforming
to be capable of transforming
tomb of Christ is a convention
tomb of Christ
of medieval
is a convention
origin that
of medieval
survives inorigin
partsthat
of southern
survives Germany
in parts of southern Germany a drily didactic religious
a drilytext
didactic
into a work
religious
of considerable
text into a work emotional
of considerable
and dramatic
emotional
scope, and dramatic scope,
to this day. Grabmusik,
to thiswhich
day. can be translated
Grabmusik, whichascan‘Cantata
be translated
on Christ’s
as ‘Cantata
Grave’ (literally and if this was indeed
on Christ’s Grave’ (literally and theif this
piece
wascomposed
indeed theinpiece
response
composed
to Archbishop
in response
Schrattenbach’s
to Archbishop Schrattenbach’s
‘Grave Music’), is thought
‘Grave Music’),
to have is been
thought
first performed
to have beenin Salzburg
first performed
Cathedral in Salzburg
during Cathedral during test, it was surely a test,
test that
it was
Mozart
surelypassed
a test that
withMozart
flying colours.
passed with flying colours.
12 MOZART / GRAB
12M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N13U N D B A S T I E N N E 13Libretto
1 Rezitativ Recitative
DIE SEELE: THE SOUL:
Wo bin ich? bittrer Schmerz! Where am I? What bitter torment!
ach! jener Sitz der Liebe, Ah, that place of love,
mein’ Ruh’, mein Trost, my peace, my comfort,
das Ziel all meiner Triebe, the goal of all my desires,
und meines Jesu göttlich’s Herz, the divine heart of Jesus,
das reget sich nicht mehr which no longer beats
und ist vom Blut und Leben leer. and is devoid of blood.
Hier trieft die Wunde noch von Blut; Here the wound still drips with blood.
verdammte Wut! Was für ein herbes Eisen Accursed rage! What kind of cruel sword
könnt’ dieses süßeste could have torn apart
und allerliebste Herz zerreißen? this sweetest and most loved of hearts?
2 Nr.1, Arie No.1, Aria
DIE SEELE: THE SOUL:
Felsen, spaltet euren Rachen, Rocks, split asunder,
trauert durch ein kläglich’s Krachen, grieve with your wretched crashing!
Sterne, Mond und Sonne flieht, Stars, moon and sun flee!
traur’ Natur, ich traure mit. Grieve, nature – I am grieving with you.
Brüllt, ihr Donner! Blitz und Flammen, Roar, thunder! Lightning and flames,
schlaget über dem zusammen, may you engulf whoever
der durch die verruchte Tat through this infamous deed
dieses Herz verwundet hat. wounded this heart.
MO Z A RT / G R A BM USI K & BASTI E N U N D BASTI E N N E 153 Rezitativ 3 Rezitativ Recitative Recitative 5 Begleitetes Rezitativ5 Begleitetes Rezitativ Accompanied recitativeAccompanied recitative
DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: DIE SEELE: DIE SEELE: THE SOUL: THE SOUL:
Geliebte Seel’, was redestGeliebte
du? Seel’, was redest du? Beloved soul, what are Beloved
you saying?soul, what are you saying? O Himmel! was ein traurig Licht, was ein traurig Licht, Oh heaven, what sad light
O Himmel! Oh breaks
heaven,forth
whatfrom
sad light breaks forth from
Bedaure das verwundteBedaure
Herz, das verwundte Herz, Lament his wounded heartLament
– his wounded heart – so jetzt zu meiner Qual soausjetzt
diesen
zu meiner
WolkenQual
bricht! these
aus diesen words,bricht!
Wolken and increases
thesemywords,
torment?
and increases my torment?
ich lobe deinen Schmerz, ich lobe deinen Schmerz, I commend your grief, I commend your grief, So bin ich den die Grausame
So bin gewesen, Was I then the cruel oneWas I then the cruel one
ich den die Grausame gewesen,
und willst du zürnen, zürne
und zu!
willst du zürnen, zürne zu! and if you want to be angry,
and if beyouangry!
want to be angry, be angry! so dieses Herz verwundet hat? Herz verwundet hat? who wounded this heart?
so dieses who wounded this heart?
Doch über wen? Doch über wen? But with whom? But with whom? Dies Blut ist meine Tat? Dies Blut ist meine Tat? Is this blood my doing? Is this blood my doing?
Ach, ehrlich über dich, Ach, ehrlich über dich, Ah, be honest with yourself,
Ah, be honest with yourself, O Schmerz, O Schmerz, Oh torment, Oh torment,
willst du den Mörder finden,
willst du den Mörder finden, and if you want to find the
andmurderer
if you want to find the murderer zerbrich mir das beklemmte
zerbrich
Herz. mir das beklemmte Herz.shatter my oppressed heart!
shatter my oppressed heart!
so denk’ an deine Sünden, so denk’ an deine Sünden, think about your own sins,
think about your own sins,
die führten diesen Stich die führten diesen Stich which prompted this wound
which prompted this wound 6 Nr. 3, Duett 6 Nr. 3, Duett No. 3, Duet No. 3, Duet
und leiteten den Speer. und leiteten den Speer. and directed this spear.and directed this spear. DIE SEELE: DIE SEELE: THE SOUL: THE SOUL:
Jetzt zürne, wie du willst,
Jetzt zürne, wie du willst, So be as angry as you Solike,be as angry as you like, Jesu, was hab’ ich getan?
Jesu, was hab’ ich getan? Jesus, what have I done? Jesus, what have I done?
jetzt traure, aber traure jetzt
mehr.traure, aber traure mehr. and grieve, but grieve more.
and grieve, but grieve more. Durch mich hast du diese
Durch
Wunden, Your wounds were inflicted
mich hast du diese Wunden, Yourbywounds
me, were inflicted by me,
durch mich Tod und Kreuz
durch
gefunden, you were crucified and you
mich Tod und Kreuz gefunden, diedwere
because
crucified
of me,
and died because of me,
4 Nr. 2, Arie 4 Nr. 2, Arie No. 2, Aria No. 2, Aria auch den letzten Tropfenauch
Blut den letzten Tropfen Blut and my anger searchesand in my
myheart
anger searches in my heart
DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL: sucht im Herzen meine sucht
Wut, im Herzen meine Wut, for even the last drop offor
blood.
even the last drop of blood.
Betracht dies Herz und Betracht
frage mich,dies Herz und frage mich,Consider this heart and Consider
ask yourself:this heart and ask yourself: ach, was hab ich getan?ach, was hab ich getan? Oh what have I done? Oh what have I done?
wer hat die Kron’ gebunden,
wer hat die Kron’ gebunden, who made this crown, who made this crown,
von wem sind diese Wunden? who inflicted these wounds?
von wem sind diese Wunden? who inflicted these wounds? DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL:
Sie ist von mir und dochSie fürist von mir und doch für mich.It happened because ofItme,
mich. happened
yet for me.because of me, yet for me. Schau dies Herz nur reuvoll
Schauan,dies Herz nur reuvoll an, Look at this heart with repentance,
Look at this heart with repentance,
Sieh, wie es Blut und Wasser
Sieh, wie weint, See how it cries tears ofSee
es Blut und Wasser weint, blood
howand it cries
water,
tears of blood and water, aber auch durch diese Wunden for through these wounds
aber auch durch diese Wunden for through these wounds
hör, was die Zähren sagen,
hör, was die Zähren sagen, listen to what the tears are
listen
saying,
to what the tears are saying, hast du Heil und Gnad hast du Heil und Gnad gefunden,you too have gained salvation
gefunden, you too and
havemercy,
gained salvation and mercy,
die letzten Tropfen fragen,
die letzten Tropfen fragen, and ask the last drop and ask the last drop auch den letzten Tropfenauch
Blut den letzten Tropfen Blut and Love gives to you and Love gives to you
ob es mit dir nicht redlich es mit dir nicht redlich meint. whether you are being honest.
obmeint. whether you are being honest. gibt die Liebe dir zugut.gibt die Liebe dir zugut. even the last drop of blood.
even the last drop of blood.
Ergib dich, hartes Herz,Ergib dich, hartes Herz, Give in, hard heart, Give in, hard heart,
zerfließ in Reu und Schmerz.
zerfließ in Reu und Schmerz. dissolve into penitence and
dissolve
grief.into penitence and grief. DIE SEELE: DIE SEELE: THE SOUL: THE SOUL:
Ach, was habe ich getan?
Ach, was habe ich getan? Oh what have I done? Oh what have I done?
DER ENGEL: DER ENGEL: THE ANGEL: THE ANGEL:
Schau das Herz nur reuvoll
Schauan.das Herz nur reuvoll an. Look at this heart with repentance.
Look at this heart with repentance.
16 MOZART / GRAB
16M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N17U N D B A S T I E N N E 17DIE SEELE: THE SOUL:
Dies soll jetzt mein Vorsatz sein, From now on, this will be my resolution:
liebstes Herz, dich will ich lieben, I will love you, dearest heart,
nimmer will ich dich betrüben, and will never disappoint you.
ach, verzeih’ es, göttlich’s Herz. Oh forgive me, divine heart.
DER ENGEL: THE ANGEL:
Es verzeihet deinem Schmerz. He forgives your torment.
18 MO Z A RT / G R A BM USI K & BASTI E N U N D BASTI E N N EBastien und Bastienne
Bastien und
– an
Bastienne
introduction
– an by
introduction
Ian Page by Ian Page Académie des Sciences Académie a proposal
des Sciences
for simplifying
a proposal
musical for simplifying
notation bymusical
substituting
notation
notesby substituting notes
with ciphers. This proposal
with ciphers. was rejected,
This proposal most was
vehemently
rejected, bymost
Rameau,
vehemently
but it didby Rameau,
reflect but it did reflect
Rousseau’s firmly-held Rousseau’s
belief that firmly-held
music should
belief bethatsimple
music and shoulddominated
be simplebyand melodydominated by melody
Bastien und BastienneBastien is the
undonly one of isMozart’s
Bastienne the onlyoperas one oftoMozart’s
have been operas
written
to have
for been written for
(though to be fair (though
to his opponents,
to be fair Rousseau’s
to his opponents,
musical Rousseau’s
education musical
and talent education
barely and talent barely
performance in a private
performance house inrathera private
than ahouse theatre. rather
It was
thancommissioned
a theatre. It was at some
commissioned at some
allowed for anything allowed
more complex).
for anything more complex).
point in mid-1768 point
by theinrenowned
mid-1768and by thecontroversial
renownedGerman and controversial
physician German
Franz Anton physician Franz Anton
Mesmer, and Mozart Mesmer,
composed and Mozart
the workcomposed
in Vienna the soonworkafterin completing
Vienna soonhisafter ill-fated
completing his ill-fated
In the spring of 1752, In the justspring
a fewofmonths1752,before
just a the
fewinfamous
months before performance
the infamous
of Pergolesi’s
performance of Pergolesi’s
comic opera La fintacomic operaNo
semplice. La details of its première
finta semplice. No details
haveofsurvived,
its première
and have
scholarship
survived, and scholarship
La serva padrona, Rousseau penned his
La serva padrona, Rousseau
only enduring
pennedcomposition,
his only enduring Le devincomposition,
du village.Le devin du village.
was further hampered wasbyfurther
the losshampered
of Mozart’sby the autograph
loss of Mozart’s
manuscript autograph
until it miraculously
manuscript until it miraculously
This unpretentious ‘intermède’
This unpretentious was inspired
‘intermède’
by the was comic
inspired
operasby that
the comic
he hadoperasheardthat he had heard
resurfaced in Krakow resurfaced
in the 1980s. in Krakow
We are in the
greatly
1980s. indebted
We are to greatly
the musicologist
indebted Linda
to theL.musicologist Linda L.
in Venice during ainbrief Venicepostingduring as asecretary
brief posting
to the as French
secretary
ambassador
to the French
there, ambassador
and it there, and it
Tyler for her work inTyler
clarifying
for herthe workunusually
in clarifying
complex the genesis
unusuallyofcomplex
this slightgenesis
but charming
of this slight but charming
marked a deliberate marked
attempta to deliberate
recreate attempt
the unadorned
to recreate charmthe and
unadorned
simplicity charm
of Italian
and simplicity of Italian
work. work.
comic opera in the comic
French operalanguage. in theNumbers
French language.
were linked Numbers
by sungwere recitative
linkedrather
by sung
thanrecitative rather than
spoken dialogue, and spokenthe libretto
dialogue, – also
andbythe Rousseau
libretto –– also
was by a generic
Rousseau tale– of
was twoa generic
young tale of two young
Provenance Provenance
shepherds, Colin and shepherds,
Colette, being
Colin and reconciled
Colette,inbeing
love by reconciled
an unnamed in loveSoothsayer
by an unnamed (the Soothsayer (the
The story of the work’s
The story originsof the
begins work’s
in Paris
origins beforebegins
Mozartin Paris
hadbefore
even been
Mozartborn.had even been born.
‘devin’ of the title) after
‘devin’Colinof has
the title)
briefly
after
beenColin
lured
hasawaybrieflybybeen
the attractions
lured away ofbythethe
nearby
attractions of the nearby
Parisian musical circles
Parisian
in themusical
early 1750s
circles inwere
the dominated
early 1750s bywere
a hard-fought
dominated intellectual
by a hard-fought intellectual
Lady of the Manor.Lady The of workthe was
Manor. premièred
The work at Fontainebleau
was premièredonat18 Fontainebleau
October 1752, on 18 October 1752,
debate between the debate
relativebetween
merits oftheFrench
relativetragic
meritsopera
of French
and Italian
tragic comic
opera opera.
and Italian
A comic opera. A
and was an immediate and was success.
an immediate
It was presented
success.in ItParis
wasthe presented
following in spring,
Paris theand following
was spring, and was
performance in Paris performance
of Pergolesi’s in Paris
intermezzo
of Pergolesi’s
La servaintermezzo
padrona La on serva
1 August
padrona1752on 1 August 1752
to retain its place on to the
retain
French
its place
stageon forthe
theFrench
next sixty
stage years.
for the next sixty years.
had sparked the eruption
had sparked of this the
debate
eruption
into of
what thisbecame
debate knowninto what as became
‘La Querelle
known desas ‘La Querelle des
Bouffons’ (‘the squabble
Bouffons’ of the(‘the
comedians’;
squabble of ‘LestheBouffons’
comedians’;was the ‘Les name
Bouffons’
by which
was the thename by which the
Libretto Libretto
troupe performing Pergolesi’s
troupe performingopera becamePergolesi’s known),
operaand became
for theknown),
next two andyears
for the
therenext two years there
The path from Rousseau’s
The path Le from
devinRousseau’s
du villageLetodevin Mozart’s Bastientound
du village Mozart’s
Bastienne is a und Bastienne is a
Bastien
was a furious exchange
was aoffurious letters,exchange
articles and of letters,
pamphlets articles
on and
the subject.
pamphlets As onwiththesosubject. As with so
long and complicated long one. and The complicated
instant popularity
one. The ofinstantRousseau’s
popularity
pieceof inRousseau’s
Paris soonpiece in Paris soon
many such trends and many movements,
such trends however,
and movements,
the seedshowever,
of the quarrelthe seeds
had already
of the quarrel
been had already been
prompted a parodyprompted(then as now a parody
a sure (then
sign ofas anow
work’sa suresuccess),
sign ofLesa work’s
amourssuccess),
de Bastien Les amours de Bastien
gestating for some time.
gestating for some time.
et Bastiene, by Marie-Justine-Benoite
et Bastiene, by Marie-Justine-Benoite
Favart and Harny de Favart
Guerville.
and HarnyThis version,
de Guerville.
which This version, which
was premièred at the wasComédie
premièred Italienne
at the onComédie
26 September
Italienne 1753,on 26 retained
September Rousseau’s
1753, retained Rousseau’s
One of the leadingOne figures
of thein the
leading
debate figures
wasinthetheSwiss debate philosopher
was the Swiss and sometime
philosopher and sometime
plot but hardly any plot of hisbutoriginal
hardly text,any ofwithhisRousseau’s
original text, classical
with Rousseau’s
French being classical
replacedFrench being replaced
musician Jean-Jacquesmusician
Rousseau Jean-Jacques
(1712 - 78). Rousseau
Born in(1712 Geneva - 78).andBornlargely
in Geneva
self-educated,
and largely self-educated,
by more robust and by colloquial
more robust language.
and colloquial
More significantly,
language. More Rousseau’s
significantly,
alternationRousseau’s alternation
he had come to Paris heinhad 1742.
come Here,
to Paris
whilein he
1742.
was Here,developing
while he his was
philosophical
developing writings,
his philosophical writings,
of recitative and airof was recitative
replacedand by air an
wasunvaried
replaced succession
by an unvaried
of poetic succession
stanzas that of poetic stanzas that
he also attempted he to establish
also attemptedhimself toasestablish
a composer, himselfand as he a composer,
even submitted and he to the
even submitted to the
20 MOZART / GRAB
20M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N21U N D B A S T I E N N E 21were sung to pre-existing
were sung
popular
to pre-existing
vaudeville popular
tunes (thisvaudeville
was consistent
tunes (this
withwas established
consistent with establishedthe same amount of theset-piece
same amountnumbers of as
set-piece
in Rousseau’s
numbersoriginal
as in Rousseau’s
libretto. Fororiginal
nine oflibretto. For nine of
traditions of Italian commedia
traditions ofdell’arte
Italian commedia
and Parisian comedy
dell’arte andtroupes),
Parisianwithcomedy
the result
troupes),
that with the result that
Weiskern’s fourteenWeiskern’s
numbers he fourteen
retained numbers
the exact he metre
retainedandthesyllable
exact metre
count and
of Favart
syllable count of Favart
Rousseau’s recitativesRousseau’s
and fourteen
recitatives
numbersandbecame
fourteeninnumbers
Favart and became
de Guerville’s
in Favart version
and de Guerville’s versionand de Guerville’s and
text, de
so that
Guerville’s
his Germantext, so lines
thatcould
his German
be sunglines
to thecould
samebeprescribed
sung to the same prescribed
a continuous sequence a continuous
of forty-sixsequence
airs. Dramaturgically,
of forty-six airs.
however,
Dramaturgically,
the parody however,
improved the parody improved French vaudeville tunes,
Frenchbutvaudeville
for the othertunes,
fivebut
(Nos.for the
1, 7,other
10,five
12 (Nos.
and 13) 1, he
7, 10,
changed
12 and the13) he changed the
on the original by extending
on the original
the argument
by extending
of thethe
young
argument
lovers of (now
the called
young Bastien
lovers (now
and called Bastien and verse structure to such
verse
an structure
extent thatto such
new music
an extent wasthat
required.
new music
This task
was wasrequired.
undertaken
This task was undertaken
Bastiene) and telescoping
Bastiene)theanddénouement
telescoping(fivethe ofdénouement
Rousseau’s (five
fourteen
of Rousseau’s
numbers take fourteen numbers take by Johann Baptist Savio,
by Johann
musicBaptist
directorSavio,
of themusic
Prague-based
director oftroupe
the Prague-based
of Johann Joseph
troupe vonof Johann Joseph von
place after the lovers’
placereconciliation)
after the lovers’into reconciliation)
a single number. into Itaalso
single
incorporated
number. It somealso incorporated some Brunnian. Savio’s music
Brunnian.
has notSavio’s
survived,
musicbuthas thenot
Weiskern-Savio
survived, but theversion
Weiskern-Savio
of Bastien und version of Bastien und
topical populist touches,
topicalsuch
populist
as the touches,
Soothsayer
such (now
as thecalled
Soothsayer
Colas)(nowfirst arriving
called Colas)
with first arriving withBastienne was in the repertoirewas
Bastienne of aintravelling
the repertoirechildren’s
of a travelling
troupe whichchildren’s
visitedtroupe
Salzburg
which in visited Salzburg in
bagpipes and laterbagpipes
deliveringand
a ‘magical’
later delivering
incantation
a ‘magical’
with gibberish
incantation
text; with
bothgibberish
of these text; both of these1766 or 1767, so Mozart
1766 ormight1767,evenso Mozart
have been mightfamiliar
even have
with this
been work
familiar
by the
withtime
thishework by the time he
new elements subsequently
new elements
found subsequently
their way intofoundMozart’s
their opera.
way into Mozart’s opera. departed for Viennadeparted
on 11 September
for Vienna1767. on 11 September 1767.
Les amours de Bastien Les amours
et Bastiene proved et
de Bastien noBastiene
less popularprovedthannothelesswork
popular
whichthan inspired
the work which inspired Mozart’s composition Mozart’s composition
it, and it eventually it,found
and its
it eventually
way to Vienna, found where
its wayit towasVienna,
performed
whereatit thewasLaxenburg
performed at the Laxenburg The motivation for The
the Mozart
motivation family’s
for the visitMozart
to Vienna
family’s
wasvisit
the toimminent
Vienna wedding
was the imminent
of wedding of
Palace and the Burgtheater
Palace and in thethe 1750s.
Burgtheater
In 1764
in theGiacomo
1750s. InDurazzo,
1764 Giacomo
the director Durazzo,
of the director of
The Archduchess MariaThe Archduchess
Josepha – sister Maria of Josepha
Emperor –Joseph sister of
II –Emperor
to King Joseph
Ferdinand II – ItoofKing Ferdinand I of
the city’s popular Kärntnertortheater,
the city’s popular commissioned
Kärntnertortheater, one of
commissioned
his leading comic one ofwriters
his leading
and comic writers and Naples (he was also Naples
Ferdinand(he was III ofalso
Sicily),
Ferdinandand byIII the
of Sicily),
time theand Mozarts
by thearrived
time the theMozarts arrived the
actors, Friedrich Wilhelm
actors,Weiskern,
Friedrich Wilhelm
to create Weiskern,
a German to translation
create a German
of the work translation
(two yearsof the work (two yearsfestivities were already
festivities
in fullwere
swing. already
Within in afullfew
swing.
weeks,
Within
however,
a fewthe weeks,
Archduchess
however, the Archduchess
later Charles Burney’slater English
Charles adaptation,
Burney’s English adaptation, The
The Cunning-Man, wasCunning-Man,
to prove very popularwas to prove very popular had succumbed tohad the succumbed
smallpox epidemic to the smallpox
that was epidemic
sweepingthat through
was sweeping
the city, and through the city, and
in London), and Weiskern
in London),was assisted
and Weiskernin his endeavours
was assistedbyinone his endeavours
of his colleagues by one at of
thehis colleagues at the
suddenly the whole suddenly
rationale the for the
wholeMozarts’
rationale tripfor
unravelled.
the Mozarts’
The trip
planned
unravelled.
festivities
Thewere
planned festivities were
theatre, J. H. F. Müller,
theatre,
whoJ.wrote
H. F. the Müller,
text for
who Nos.
wrote11theandtext12forand
Nos. the11
firstand
two12 stanzas
and the first two stanzascancelled, the theatres
cancelled,
closed and the theatres
the visitingclosedaristocracy
and thedeparted,
visiting aristocracy
and as the departed,
epidemicand as the epidemic
of No. 13. The second of No. ‘n’13.
in ‘Bastienne’
The secondseems ‘n’ in to‘Bastienne’
have beenseems incorporated
to have beenbeforeincorporated
the before the
spread the Mozartsspread
removed thethemselves
Mozarts removed firstly to themselves
Brünn (nowfirstly Brno)toand
Brünnthen
(now
to Olmütz
Brno) and then to Olmütz
work arrived in Vienna,
workand arrived
Weiskern’s
in Vienna,newand version
Weiskern’s
was entitled
new version
Bastienwas undentitled
BastienneBastien und Bastienne (Olomouc). The children
(Olomouc).
were nevertheless
The childrenunable were nevertheless
to avoid theunabledisease, to and
avoidWolfgang
the disease, and Wolfgang
(actually just Bastienne
(actually
on thejusttitle page, but
Bastienne onBastien
the titleund
page, but Bastien
Bastienne at theundhead of eachat the head of each
Bastienne came close to dying, came
but thanks
close totodying,
the intercession
but thanksoftoathe Salzburg
intercession
acquaintance
of a Salzburg
who wasacquaintance who was
subsequent page ofsubsequent
the libretto). page of the libretto). now dean of the cathedral
now dean and of rector
the cathedral
of the university
and rector in Olmütz,
of the university
they were in Olmütz,
treated inthey were treated in
comfort and recoveredcomfort before
andthe recovered
end of the before year,thereturning
end of to theVienna
year, returning
on 10 Januaryto Vienna on 10 January
Weiskern’s GermanWeiskern’s
translation German
remainedtranslation
loyal to Favart
remained
and loyal
de Guerville’s
to Favart and text, de
but Guerville’s
he text, but he
1768. Nine days later1768. theyNine
weredays granted
later atheytwo-hour
were granted
audience a two-hour
with the Empress
audienceMaria with the Empress Maria
did modify its form didintomodify
the standard
its formstructure
into theand standard
style of
structure
a Vienneseand style
musical of acomedy,
Viennese musical comedy, Theresia and Emperor Theresia
Josephand II. Emperor Joseph II.
turning most of the French
turningstanzas
most ofinto the French
spokenstanzas
Germaninto dialogue
spoken(in German
prose) dialogue
and selecting(in prose) and selecting
fourteen numbers to fourteen
adapt numbers
more freely to adapt
into German
more freely
verse.intoCoincidentally,
German verse. this Coincidentally,
was this was
22 MOZART / GRAB
22M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N23U N D B A S T I E N N E 23It was seemingly at Itthe
wasbehest
seemingly
of the at Emperor
the behestthat of
Mozart
the Emperor
composed that aMozart
full-length
composed
opera a full-length opera for Mozart’s Zaide for– took
Mozart’s
it upon himself
Zaide – tookto revise
it uponWeiskern
himself andto revise
Müller’s
Weiskern
text, believing
and Müller’s text, believing
buffa, La finta semplice,
buffa,over the next
La finta five months,
semplice, over the butnext
in thefive
event
months,
the musical
but in the
establishment
event the musical establishment their language to betheir
toolanguage
harsh andtounpoetic.
be too harsh This revision
and unpoetic.
involved This
a few
revision
smallinvolved
changesa few small changes
closed ranks to prevent
closed theranks
work’s to production.
prevent the work’s
Mozart’s production.
infuriated Mozart’s
father petitioned
infuriatedthefather petitioned the to the sung text thattoMozart
the sung had textalready
that Mozart
set, buthadbecause
alreadytheset, music
but because
had already the music
been had already been
Emperor, and they remained
Emperor, and in Vienna
they remained
for severalinmore Viennamonths
for several
in the more
increasingly
monthsforlorn
in the increasingly forlorn
written Schachtner written
had to Schachtner
fit the exacthad syllable
to fit counts
the exact andsyllable
stressescounts
of Mozart’s
and stressespre- of Mozart’s pre-
hope of having the hope
operaofperformed,
having thebut opera
to no performed,
avail. It wasbut presumably
to no avail. at It was
somepresumably
point at some pointexisting music. Far more
existingsignificant,
music. Far however,
more significant,
was Schachtner’s
however,decision
was Schachtner’s
to rewrite all decision
of to rewrite all of
during the course ofduring
this wait
the that
course Mozart
of thiswas
waitcommissioned
that Mozart was to writecommissioned
a short opera to write
for a short opera forWeiskern’s spoken dialogue,
Weiskern’sreplacing
spoken dialogue,
it with versereplacing
which could
it withthen
versebewhich
set tocould
recitative
then be set to recitative
private performanceprivate
in the performance
house of Doctor in the
FranzhouseAnton
of Doctor
Mesmer. Franz Anton Mesmer. and sung; Mozart did andindeed
sung; Mozart
set the first
didfourindeed
of these,
set the
butfirst
understandably
four of these, but seems
understandably
to have seems to have
run out of enthusiasm.
run out of enthusiasm.
Born near Lake Constance
Born near in 1734,
Lake Constance
Mesmer had in 1734,
studiedMesmer
theology, hadphilosophy
studied theology,
and lawphilosophy and law
in Vienna before turning
in Vienna
to medicine.
before turning
He achieved
to medicine.widespread
He achieved notoriety widespread
– and notable notoriety – and notable The repercussions of TheSchachtner’s
repercussions revision,
of Schachtner’s
however, revision,
in conjunctionhowever, withinthe conjunction
loss of with the loss of
early success – withearly
his use
success
of magnets
– with to hisdisrupt
use of whatmagnetshe considered
to disrupt what to behegravitational
considered to be gravitational Mozart’s autographMozart’s
manuscript, autograph
led musicologists
manuscript, toledvarious
musicologists
false assumptions.
to various false Firstly assumptions. Firstly
tides adversely affecting
tides his
adversely
patients, affecting
but the his
orthodox
patients,medical
but thefraternity
orthodox found
medicalhis theories
fraternity found his theoriesthe Vienna commissionthe Vienna
and première
commission seemed and topremière
contradictseemed
the known
to contradict
involvement the known
of involvement of
and methods increasingly
and methodscontroversial,
increasingly
and he controversial,
was eventually and accused
he was eventually
of fraud and accused of fraud and Schachtner, who had Schachtner,
remainedwho in Salzburg
had remained throughout
in Salzburg
1768, and throughout
it was 1768,therefore and it was therefore
forced to leave Vienna.
forcedMesmer
to leave was Vienna.
a keenMesmer
cellist andwasharpsichordist,
a keen cellist and and harpsichordist,
also played and also played surmised that Mozart surmised
had already
that Mozartstartedhad work already
on thestarted
operawork in 1767
on the before
opera heinleft1767 before he left
the glass harmonicathe to glass
patientsharmonica
to inducetothem patients
into to
a induce
trance-likethem state.
into He
a trance-like
was famously state. He was famously for Vienna. Secondly,for all
Vienna.
of Schachtner’s
Secondly, changes
all of Schachtner’s
were incorporated
changes into werethe incorporated
accepted into the accepted
satirised by Mozartsatirised
and Lorenzo by Mozart
da Ponte andinLorenzo
the Act da One Ponte
finale
in oftheCosì
Act One finale of Così fan tutte.
fan tutte. version of the work,version
with the of ridiculous
the work, resultwith the
thatridiculous
it began result
with sung
that itrecitative
began with betweensung recitative between
each number and continued
each number withand spoken
continued
dialogue.with spoken dialogue.
In January 1768 Mesmer
In January married
1768theMesmer wealthymarried
widowthe Mariawealthy
Annawidow von Bosch,Mariaand Anna in von Bosch, and in
so doing became so a well-known
doing became figurea inwell-known
Viennese figuresociety.in The Viennese
Mesmers society.
wereThe soon Mesmers were soon It was only with the It was
rediscovery
only with of the
Mozart’s
rediscovery
manuscript
of Mozart’s
in the 1980s
manuscript that inthethetruth1980s that the truth
entertaining lavishlyentertaining
at their splendid
lavishly house
at their
in thesplendid
Landstrasse
housesuburbin the Landstrasse
of Vienna, and suburb it of Vienna, andwas it established. Nowwas scholars
established. wereNow able scholars
to provewerethat Mozart
able to usedproveViennese
that Mozart paper used Viennese paper
was here that Mozart’s
was hereBastienthatund Mozart’s
Bastienne
Bastien wasundperformed
Bastienne (one wasof performed
Mozart’s early (one of Mozart’s early which would almostwhich certainly
would notalmost
have beencertainly
available
not haveto him
been in available
Salzburg,toand himeven in Salzburg,
a and even a
biographers claimed biographers
that the performance
claimed thattook the place
performance
in the Mesmers’
took place garden
in thetheatre,
Mesmers’ garden theatre, perfunctory examination
perfunctory
of the examination
manuscript shows of the that
manuscript
Mozart shows originally
that set
Mozart
Weiskern originally set Weiskern
but this had not beenbutbuilt
this by
had1768).
not been built by 1768). and Müller’s text verbatim
and Müller’s– in thetext handful
verbatimof–placesin the where
handfulSchachtner
of places subsequently
where Schachtner subsequently
made changes to the made sungchanges
text thereto the
are sung
cleartext
crossings
there are out clear
on the crossings
manuscript, out on withthe manuscript, with
Salzburg revision Salzburg revision Schachtner’s wordsSchachtner’s
added above words
or beneath
added them. aboveAs or far
beneath
as wethem.know,Asthis farrecording
as we know, this recording
The final part of Bastien
The finalundpart of Bastien
Bastienne’s early
undhistory is alsoearly
Bastienne’s the one history
thatishasalsocaused
the one that has caused is the first performance
is theoffirst
Mozart’s
performance
originalofsetting
Mozart’sof Bastien
original und setting of Bastien
Bastienne sinceund its Bastienne since its
the most confusion.the After
mosttheconfusion.
Mozarts’ After returnthe to Mozarts’
Salzburg returnearly in to 1769,
Salzburg theirearly
friendin 1769, their friend
première at Dr Mesmer’s
première houseat Dr250 Mesmer’s
years ago. house 250 years ago.
Johannes Schachtner Johannes
– a court Schachtner
trumpeter –and a court
writertrumpeter
who wasand later writer
to create
who was the libretto
later to create the libretto
24 MOZART / GRAB
24M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N25U N D B A S T I E N N E 25The music The music Synopsis Synopsis
The twelve-year-oldThe Mozart
twelve-year-old
was already Mozart
a master wasatalready
matching a master
his compositions
at matchingtohis thecompositions to the
scale and ambition scale
of theand
commission,
ambition andof thehiscommission,
music for Bastien
and his
undmusic for Bastien
Bastienne perfectly
und Bastienne perfectly The shepherdess Bastienne
The shepherdess
has been Bastienne
abandoned has been
by herabandoned
sweetheart,bythehershepherd
sweetheart, the shepherd
matches the rustic simplicity
matches the of the
rustic
libretto.
simplicity
Overofhalf the of
libretto.
the arias
Overlasthalf
for ofless
thethan
ariastwolast for less than two Bastien, who has beenBastien,
lured
who
awayhas bybeen
the lured
attractions
awayabynoble
the attractions
lady from athenoble
city. lady
She from the city. She
minutes, but they unerringly
minutes, but capture
they unerringly
the dramatic capture
and emotional
the dramaticsituation.
and emotional
Note, forsituation. Note, for wretchedly laments wretchedly
her plight and
laments
seeksherthe
plight
advice
andofseeks
Colas,thewho
advice
hasofestablished
Colas, who a has established a
example, the speedexample,
and efficiency
the speed
with and
which efficiency
Mozart withestablishes
which Mozart
each character
establishes
withineach character within reputation as a fortune-teller
reputationand
as magician.
a fortune-teller
Colasand
reassures
magician.
her Colas
that Bastien
reassures
still her
lovesthat
herBastien still loves her
their first aria – Bastienne’s
their first forlorn
aria – melancholy
Bastienne’s (No.forlorn1),melancholy
Colas’ blustery
(No. swagger
1), Colas’tinged
blustery swagger tinged and will soon return,and
but will
recommends
soon return,
thatbut
when
recommends
he does so
that
shewhen
should
he feign
does indifference.
so she should feign indifference.
with genuine compassion
with genuine
(No. 4), compassion
and Bastien’s (No.exuberant
4), and Bastien’s
complacency
exuberant
that all
complacency
will be that all will be
well now that he has well
decided
now that to return
he hastodecided
Bastienne to (No.
return8).to Bastienne (No. 8). Bastienne departs to Bastienne
tend to her
departs
flock,toand
tendBastien
to her now
flock,arrives.
and Bastien
He joyfully
now arrives.
tells ColasHe joyfully tells Colas
that he has seen the thaterror
he has
of hisseen
waystheand
erroris oflooking
his ways forward
and isto looking
being reunited
forward withto being reunited with
The emotional temperature
The emotional
rises with
temperature
the soulfulrises
tenderness
with theofsoulful
Bastien’s
tenderness
“MeinerofLiebsten
Bastien’s “Meiner Liebsten
Bastienne. Colas congratulates
Bastienne. Colashim oncongratulates
his decision,him but onwarns
his decision,
him that he butiswarns
too latehimand
that he is too late and
schönen Wangen”schönen (No. 11), Wangen”
in which (No.
Mozart
11), employs
in whichflutes
Mozart
for employs
the only flutes
time infor the only time that
in Bastienne now that has Bastienne
another admirer.
now hasBastien,
anotherdistraught,
admirer. Bastien,
urges Colas distraught,
to consult
urges hisColas to consult his
the piece, and withthethepiece,
splendidly
and withcombative
the splendidly
duet (No. combative
13) in which
duet (No.
the two
13) lovers
in which the two lovers
Book of Magic. Colas Bookcasts
of Magic.
a terrifying
Colashocus-pocus
casts a terrifying
spell, after
hocus-pocus
which hespell,
predicts
after that
which he predicts that
pugnaciously exchangepugnaciously
musical stanzas.
exchangeIf Bastien’s
musical stanzas.
despair IfinBastien’s
the briefdespair
accompanied
in the brief accompaniedBastien will be ableBastien
to win will
Bastienne
be able back
to win
if heBastienne
works hard backto iftake
he better
works care
hard ofto her.
take better care of her.
recitative (No. 14) reminds
recitativeus(No.
of Papageno’s
14) remindsnear us ofsuicide,
Papageno’s
we should
near remember
suicide, wethat
should
Die remember that Die
Zauberflöte itself belongs to theitself
Zauberflöte samebelongs
tradition
to of
theGerman
same tradition
singspiel,
of and
German
that singspiel,
many of and that many of Bastien is left alone,Bastien
and when
is leftBastienne
alone, and returns
whenshe Bastienne
rebuffs him,
returnssaying
she rebuffs
that he him,
cannotsaying that he cannot
these moments werethesestockmoments
set-pieces were
of the
stock
genre.
set-pieces
Finally,ofthe
theconsecutive
genre. Finally,
ensembles
the consecutive
with ensembles with
be her Bastien, for he
bewas
her Bastien,
faithful and
for loving.
he was Bastien
faithful and
tries loving.
to persuadeBastien
hertries
thattoColas
persuade
has her that Colas has
which the work endswhich(Nos.the15-16)
work ends
negotiate
(Nos.a15-16)
potentially
negotiate
clumsyaandpotentially
sudden clumsy
resolution
and sudden resolution
banished the malevolent
banished
forcesthethat
malevolent
were overpowering
forces that were his judgement,
overpowering but they
his judgement,
continue but they continue
with consummate skillwithand
consummate
subtlety. skill and subtlety. to argue until Bastien
to argue
declaresuntilhimself
Bastienready
declares
to commit
himselfsuicide.
ready to Bastienne
commit wishes
suicide.himBastienne wishes him
good luck. good luck.
Perhaps the most popular
Perhapsnumber
the mostin popular
Bastien number in Bastien
und Bastienne is Colas’ pseudo-magical
und Bastienne is Colas’ pseudo-magical
spell to nonsense words,
spell towhich
nonsenseis onewords,
of fewwhich
numbers is onein of
thefew
opera
numbers
whoseinderivation
the opera whose derivation Eventually, however,Eventually,
they acknowledge
however, that
theytheir
acknowledge
love for each
thatother
their remains
love for each
undimmed,
other remains undimmed,
can be traced directly
canback
be traced
to Le devin
directlyduback to LeRousseau’s
village. French gibberish
devin du village. Rousseau’sbegins
French gibberish begins
and Colas returns toand
celebrate
Colas returns
the happy
to celebrate
outcome.the happy outcome.
“Manche, Planche,/Salme,
“Manche,Palme”,Planche,/Salme,
which became Palme”,“Tätzel,
which Brätzel,/Schober,
became “Tätzel,Kober”
Brätzel,/Schober,
in Kober” in
Weiskern’s GermanWeiskern’s
adaptation.German
This is the
adaptation.
only number, This however,
is the onlyfor
number,
which Schachtner’s
however, for which Schachtner’s
Salzburg revision provides
Salzburg entirely
revisionnewprovides
words –entirely
“Diggi, newdaggi,/Schurry,
words – “Diggi, murry”
daggi,/Schurry,
– and it murry” – and it
has been suggestedhasthatbeen
this text
suggested
might have
that this
been textthemight
workhaveof Mozart
been the
himself.
work Certainly
of Mozart himself. Certainly
it would have appealed
it would to Mozart’s
have appealed
sense of to humour,
Mozart’sand senseweofhave
humour,
included
and “Diggi,
we have included “Diggi,
daggi” as an appendix
daggi” on as
thisanrecording.
appendix on this recording.
26 MOZART / GRAB
26M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N U N D B A S T I E N N E M O Z A R T / G R A B M U SMI K
O Z&A B
R TA S/T I G
ENR AUB N
M DU SBI A
K S&T I EBN
A SNTEI E N27U N D B A S T I E N N E 27You can also read
