{"product_id":"the-vienna-idon-giovannii-9781843835868","title":"The Vienna Don Giovanni","description":"\u003cb\u003eAspects of \u003ci\u003eDon Giovanni's\u003c\/i\u003e compositional history are uncovered and the study provides for detailed evidence with which to evaluate Da Ponte's recollections. The essential truth of his account - that the revision of the operain Vienna was an interactive process - seems to be fully borne out. A general theory of transmission is proposed, which clarifies the relationship between the fluid text produced by re-creation and the static text generated by replication.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn the year following its 1787 Prague première, \u003ci\u003eDon Giovanni\u003c\/i\u003e was performed in Vienna. Everyone, according to the well-known account by Da Ponte, thought something was wrong with it. In response, Mozart made changes, producing a Vienna 'version' of the opera, cutting two of the original arias but inserting three newly-composed pieces. The dilemma faced by musicians and scholars ever since has been whether to preserve the opera in these two 'authentic' forms, or whether to fashion a hybrid text incorporating the best of both.  \u003cbr\u003e This study presents new evidence about the Vienna form of the opera, based on the examination of late eighteenth-century manuscript copies. The Prague Conservatory score is identified as the primary exemplar for the Viennese dissemination of \u003ci\u003eDon Giovanni\u003c\/i\u003e, which is shown to incorporate two quite distinct versions, represented by the performing materials in Vienna [O.A.361] and the early Lausch commercial copy in Florence. To account for this phenomenon, seen also in early sources of the Prague \u003ci\u003eDon Giovanni\u003c\/i\u003e and \u003ci\u003eCosì fan tutte\u003c\/i\u003e, a general theory of transmission for the Mozart Da Ponte operas is proposed, which clarifies the relationship between the fluid text produced by re-creation (performing) and the static text generated by replication (copying). Aspects of the compositional history of \u003ci\u003eDon Giovanni\u003c\/i\u003e are uncovered. Evidence to suggest that Mozart first considered an order in which Donna Elvira's \u003ci\u003escena\u003c\/i\u003e precedes the comic duet 'Per queste tue manine' is assessed. The essential truth of Da Ponte's account - that the revision of the opera in Vienna was an interactive process, involving the views of performers, the reactions of audiences and the composer's responses - seems to be fully borne out. The final part of the study investigates the late eighteenth-century transmission of \u003ci\u003eDon Giovanni\u003c\/i\u003e. The idea that hybrid versions gained currency only in the nineteenth century or in the lighter \u003ci\u003eSingspiel\u003c\/i\u003e tradition is challenged. \u003cbr\u003e\u003cbr\u003e IAN WOODFIELD is Professorand Director of Research at the School of Music and Sonic Arts, Queen's University Belfast.","brand":"Ian Woodfield","offers":[{"title":"Default Title","offer_id":48280245272827,"sku":"9781843835868","price":120.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/3917\/9771\/files\/9781843835868.jpg?v=1772487478","url":"https:\/\/indiepubs.com\/products\/the-vienna-idon-giovannii-9781843835868","provider":"IndiePubs","version":"1.0","type":"link"}