From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763)
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 the research project ‘Pasticcio. Ways of...
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Sciendo
2021-12-01
|
| Series: | Musicology Today |
| Subjects: | |
| Online Access: | https://doi.org/10.2478/muso-2021-0008 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1849431618682355712 |
|---|---|
| author | Pelliccia Emilia Rzepka Sonia |
| author_facet | Pelliccia Emilia Rzepka Sonia |
| author_sort | Pelliccia Emilia |
| collection | DOAJ |
| description | 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 the research project ‘Pasticcio. Ways of Arranging Attractive Operas’. The 1763 version of Hasse's opera Siroe, re di Persia featured the novice Elisabeth Teyber in the role of Laodice, whose dramaturgical weight seems to have been reconsidered several times by the composer, particularly in one instance: The seventh scene of Act I was written out twice by Hasse, once as an accompagnato and once in a secco version. In the first part of this article, the background and reasons for such measures, which carry crucial information regarding compositional practices in Hasse's self-pasticcio, will be discussed. Particular emphasis will be placed on the dramaturgical changes and their presentation in the project's synoptical overview of the textual sources of Siroe. The second part enters into detail about Teyber and her vocal peculiarities, which prompted the composer's new concept of this scene. The third section is devoted to another digital humanities tool, namely the database, which serves to visualise relations between sources, singers and composers and to picture the complexity of 18th-century pasticcio practice. |
| format | Article |
| id | doaj-art-36841de8a50f4d4599f9dafd82aa84aa |
| institution | Kabale University |
| issn | 1734-1663 2353-5733 |
| language | English |
| publishDate | 2021-12-01 |
| publisher | Sciendo |
| record_format | Article |
| series | Musicology Today |
| spelling | doaj-art-36841de8a50f4d4599f9dafd82aa84aa2025-08-20T03:27:36ZengSciendoMusicology Today1734-16632353-57332021-12-01181758810.2478/muso-2021-0008From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763)Pelliccia Emilia0Rzepka Sonia1University of ViennaUniversity of WarsawAllowedly, 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 the research project ‘Pasticcio. Ways of Arranging Attractive Operas’. The 1763 version of Hasse's opera Siroe, re di Persia featured the novice Elisabeth Teyber in the role of Laodice, whose dramaturgical weight seems to have been reconsidered several times by the composer, particularly in one instance: The seventh scene of Act I was written out twice by Hasse, once as an accompagnato and once in a secco version. In the first part of this article, the background and reasons for such measures, which carry crucial information regarding compositional practices in Hasse's self-pasticcio, will be discussed. Particular emphasis will be placed on the dramaturgical changes and their presentation in the project's synoptical overview of the textual sources of Siroe. The second part enters into detail about Teyber and her vocal peculiarities, which prompted the composer's new concept of this scene. The third section is devoted to another digital humanities tool, namely the database, which serves to visualise relations between sources, singers and composers and to picture the complexity of 18th-century pasticcio practice.https://doi.org/10.2478/muso-2021-0008pasticciodatabasesjohann adolf hasseelisabeth teybersiroe |
| spellingShingle | Pelliccia Emilia Rzepka Sonia From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) Musicology Today pasticcio databases johann adolf hasse elisabeth teyber siroe |
| title | From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) |
| title_full | From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) |
| title_fullStr | From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) |
| title_full_unstemmed | From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) |
| title_short | From ‘insignificant’ bars to significant social relations: Elisabeth Teyber and Laodice's accompagnato in Siroe (1763) |
| title_sort | from insignificant bars to significant social relations elisabeth teyber and laodice s accompagnato in siroe 1763 |
| topic | pasticcio databases johann adolf hasse elisabeth teyber siroe |
| url | https://doi.org/10.2478/muso-2021-0008 |
| work_keys_str_mv | AT pellicciaemilia frominsignificantbarstosignificantsocialrelationselisabethteyberandlaodicesaccompagnatoinsiroe1763 AT rzepkasonia frominsignificantbarstosignificantsocialrelationselisabethteyberandlaodicesaccompagnatoinsiroe1763 |