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From [1] (an Austrian doctoral dissertation abstract):
This implies that the 1897 premiere was not "original", since Mottl (the conductor of that performance) had adapted the work ("completions and changes to the music, as well as editing of the libretto by O. Neitzel") to the tastes of the time (something that is less clear in the English translation of the abstract). I've seen comments in some online resources that the 1897 performance was somehow modified -- this is the first thing I've found that comes close to detailing the modifications that may have been made, and by whom. I don't think I've seen this in any reliable sources, unless this dissertation database qualifies. (The Cambridge Companion to Schubert, p. 318, says the performance is "shortened".)
The dissertation abstract goes on to say that those who don't view the 1897 performance as authentic tend to view Abbado's 1988 performance as the true premiere, which implies that the intervening performances were probably based on Mottl's adaptations.
Alfred Einstein, in Schubert: A Musical Portrait (Oxford University Press, 1951) (p. 210), gives a different account of the plot than is currently described. Some of the same basic plot elements are there, but in a different order, and with more detail. (For example, he has Eginhard and Roland being sent off to negotiate with the Moors at the end of Act 1, where the current description implies this happens much earlier.) This could be based on original research (i.e. it is an authentic description), or on familiarity with Mottl's version (i.e. it is inauthentic).
Does anyone else have a reliably sourced plot synopsis, perhaps based on Abbado's work? I'm reluctant to use Einstein's as allegedly authoritative. Magicpiano ( talk) 13:57, 22 August 2008 (UTC)
So is there any reason for the fact both seem to be common? Deutsch uses one r as does the Chwialkowski book, but the score on IMSLP uses two, as do all three of the listed recordings. Since it's based off of Fierabras, it seems the one r is more correct...I guess it probably doesn't matter much, but I'm really curious if anyone has insite. ♫ Melodia Chaconne ♫ ( talk) 17:05, 18 December 2009 (UTC)
![]() | This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||
|
From [1] (an Austrian doctoral dissertation abstract):
This implies that the 1897 premiere was not "original", since Mottl (the conductor of that performance) had adapted the work ("completions and changes to the music, as well as editing of the libretto by O. Neitzel") to the tastes of the time (something that is less clear in the English translation of the abstract). I've seen comments in some online resources that the 1897 performance was somehow modified -- this is the first thing I've found that comes close to detailing the modifications that may have been made, and by whom. I don't think I've seen this in any reliable sources, unless this dissertation database qualifies. (The Cambridge Companion to Schubert, p. 318, says the performance is "shortened".)
The dissertation abstract goes on to say that those who don't view the 1897 performance as authentic tend to view Abbado's 1988 performance as the true premiere, which implies that the intervening performances were probably based on Mottl's adaptations.
Alfred Einstein, in Schubert: A Musical Portrait (Oxford University Press, 1951) (p. 210), gives a different account of the plot than is currently described. Some of the same basic plot elements are there, but in a different order, and with more detail. (For example, he has Eginhard and Roland being sent off to negotiate with the Moors at the end of Act 1, where the current description implies this happens much earlier.) This could be based on original research (i.e. it is an authentic description), or on familiarity with Mottl's version (i.e. it is inauthentic).
Does anyone else have a reliably sourced plot synopsis, perhaps based on Abbado's work? I'm reluctant to use Einstein's as allegedly authoritative. Magicpiano ( talk) 13:57, 22 August 2008 (UTC)
So is there any reason for the fact both seem to be common? Deutsch uses one r as does the Chwialkowski book, but the score on IMSLP uses two, as do all three of the listed recordings. Since it's based off of Fierabras, it seems the one r is more correct...I guess it probably doesn't matter much, but I'm really curious if anyone has insite. ♫ Melodia Chaconne ♫ ( talk) 17:05, 18 December 2009 (UTC)