Title: Andrea Bernasconi's earliest operatic music on its way north of the Alps
Source document: Musicologica Brunensia. 2018, vol. 53, iss. Supplementum, pp. 207-226
Extent
207-226
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2018-S-14
Stable URL (handle): https://hdl.handle.net/11222.digilib/140874
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
In contrast to the relative thoroughness of research into the life and works of Andrea Bernasconi for the period after his arrival in Munich in 1753, his earlier biography still has many lacunae. Following on from the author's earlier identification of Bernasconi's setting from 1736 of the opera Adriano in Siria for the Royal and Ducal Theatre in Milan, this article analyses the extant score and libretto of his Flavio Anicio Olibrio, produced in January 1737 at the Kärntnertor Theatre in Vienna. Interestingly, this production included four arias from Bernasconi's earlier Adriano and is the source for seven manuscript copies of Bernasconi arias in the Attems collection today preserved in Maribor, Slovenia. Viennese music circles are thus identifiable as one of the sources for this collection. From Vienna Bernasconi's music had already reached Moravia by 1737, and from Milan it was already being sought in late 1736 by the Württemberg Court in Stuttgart. The two discussed operas thus paved the way for the early reception and popularity of Bernasconi's arias north of the Alps.
References
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[2] Adriano in Siria / Der in Syrien Triumphierende Kayser HADRIANUS. Stuttgart: [the printer is not indicated], 1737.
[3] Adriano in Siria. Vienna: Johann Peter van Ghelen, 1743.
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[5] Il giorno felice / Der Glückseelige Tage. Vienna: Johann Peter van Ghelen, 1737.
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[13] KOKOLE, Metoda. Metoda Kokole, Did Andrea Bernasconi Compose 'Adriano in Siria' Twice?. In Music Migration in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence. Jolanta Guzy-Pasiak – Aneta Markuszewska (eds.). Warsaw: Liber Pro Arte, 2016, pp. 337–262.
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[18] PERUTKOVÁ, Jana. Der glorreiche Nahmen Adami. Johann Adam Graf Questenberg (1678-1752) als Förderer der italienischen Oper in Mähren. Specula Spectacula 4. Wien: Hollitzer Verlag, 2015.
[19] OWENS, Samantha. The Court of Württemberg-Stuttgart. In Music at German Courts, 1715–1760: Changing Artistic Priorities. Samantha Owens – Barbara M. Reul – Janice B. Stockigt (eds.). Woodbridge: Boydell Press, 2011, pp. 165–195.
[20] SADGORSKI, Daniela. Andrea Bernasconi und die Oper am Münchner Kurfürstenhof 1753–1772. München: Herbert Utz Verlag, 2010.
[21] SARTORI, Claudio. I libretti italiani a stampa dalle origini al 1800. Catalogo analitico con 16 indici (7 vols.). Cuneo: Bertola & Locatelli, 1990–1994.
[22] SOMMER-MATHIS, Andrea. Die Anfänge des Wiener Kärntnertortheaters zwischen deutschsprachiger Stegreifkomödie und Italienischer Oper. Divadelní revue, 2015, vol. 26, no. 2, pp. 139–152.
[23] SOMMER-MATHIS, Andrea. Höfisches Theater zwischen 1735 und 1745. Ein Wendepunkt? In Im Dienste einer Staatsidee. Künste und Künstler am Wiener Hof um 1740. Elisabeth Fritz-Hilscher (ed.). Wiener Musikwissenschaftliche Beiträge 24. Wien – Köln – Weimar: Böhlau Verlag, 2013, pp. 109–123.
[24] WEISS. Eduard Josef. Andrea Bernasconi als Opernkomponist. Ph.D. Munich, 1923.
[2] Adriano in Siria / Der in Syrien Triumphierende Kayser HADRIANUS. Stuttgart: [the printer is not indicated], 1737.
[3] Adriano in Siria. Vienna: Johann Peter van Ghelen, 1743.
[4] Flavio Anicio Olibrio / Flavius Anicius Olibrius. Vienna: Johann Peter van Ghelen, 1737.
[5] Il giorno felice / Der Glückseelige Tage. Vienna: Johann Peter van Ghelen, 1737.
[6] Österreichische Nationalbibliothek, Vienna. Flavio Anicio Olibrio. Musica di Andrea de Bernasconi Dilettante Milanese. [Vienna], 1737. Mus.Hs. 18294/1–3 Mus.
[7] Pokrajinski arhiv Maribor, Gospoščina Bistriški grad, Musicalia, TE 67, AE 1.
[8] Hauptstaatsarchiv Stuttgart, A7 Büschel 50.
[9] GERBER, Ernst Ludwig. Bernasconi (Andrea). Historisch-Biographisches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Componisten, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher, enthält. Vol. 1. Leipzig: Johann Gottlob Immanuel Breitkopf, 1790.
[10] HADAMOWSKY, Franz. Barocktheater am Wiener Kaiserhof. Mit einem Spielplan (1626–1740). Vienna: A. Sexl, 1955.
[11] HILL, John Walter. Arrigoni, Carlo. In Grove Music Online. [cit. 2018-2-9]. URL: http://www.oxfordmusiconline.com.nukweb.nuk.uni-lj.si/subscriber/article/grove/music/01349.
[12] KÄGLER, Britta. Competition at the Catholic Court of Munich. Italian Musicians and Family Networks. In Musicians' Mobilities and Music Migrations in Early Modern Europe. Biographical Patterns and Cultural Exchanges. Gesa zur Nieden – Berthold Over (eds.). Bielefeld: Transcript Verlag, 2016, pp. 73–90: 81–84.
[13] KOKOLE, Metoda. Metoda Kokole, Did Andrea Bernasconi Compose 'Adriano in Siria' Twice?. In Music Migration in the Early Modern Age: Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence. Jolanta Guzy-Pasiak – Aneta Markuszewska (eds.). Warsaw: Liber Pro Arte, 2016, pp. 337–262.
[14] KOKOLE, Metoda. Migrations of Musical Repertoire. The Attems Music Collection from Around 1744. In Musicians' Mobilities and Music Migrations in Early Modern Europe. Biographical Patterns and Cultural Exchanges. Gesa zur Nieden – Berthold Over (eds.). Bielefeld: Transcript Verlag, 2016, pp. 341–377.
[15] KOKOLE, Metoda. The Lasting Musical Effects of the Italian Grand Tours of Ignaz Maria von Attems-Heiligenkreutz (1714–1762) and Thomas Gray (1716–1771). Arti musices, 2016, vol. 47, no. 1–2, pp. 79–101.
[16] MÜNSTER, Robert – CORNEILSON, Paul. Bernasconi, Andrea. In Grove Music Online. [cit. 2018-1-25]. URL: http://www.oxfordmusiconline.com.nukweb.nuk.uni-lj.si/subscriber/article/grove/music/02864.
[17] MÜNSTER, Robert. Bernasconi, Andrea. In Die Musik in Geschichte und Gegenwart Online. [2017-5-8]. URL: https://www-mgg-online-com.nukweb.nuk.uni-lj.si/article?id=mgg01419&v=1.0&rs=id4fd15a83-28b4-7db1-d9d8-3abf0bd26fe8.
[18] PERUTKOVÁ, Jana. Der glorreiche Nahmen Adami. Johann Adam Graf Questenberg (1678-1752) als Förderer der italienischen Oper in Mähren. Specula Spectacula 4. Wien: Hollitzer Verlag, 2015.
[19] OWENS, Samantha. The Court of Württemberg-Stuttgart. In Music at German Courts, 1715–1760: Changing Artistic Priorities. Samantha Owens – Barbara M. Reul – Janice B. Stockigt (eds.). Woodbridge: Boydell Press, 2011, pp. 165–195.
[20] SADGORSKI, Daniela. Andrea Bernasconi und die Oper am Münchner Kurfürstenhof 1753–1772. München: Herbert Utz Verlag, 2010.
[21] SARTORI, Claudio. I libretti italiani a stampa dalle origini al 1800. Catalogo analitico con 16 indici (7 vols.). Cuneo: Bertola & Locatelli, 1990–1994.
[22] SOMMER-MATHIS, Andrea. Die Anfänge des Wiener Kärntnertortheaters zwischen deutschsprachiger Stegreifkomödie und Italienischer Oper. Divadelní revue, 2015, vol. 26, no. 2, pp. 139–152.
[23] SOMMER-MATHIS, Andrea. Höfisches Theater zwischen 1735 und 1745. Ein Wendepunkt? In Im Dienste einer Staatsidee. Künste und Künstler am Wiener Hof um 1740. Elisabeth Fritz-Hilscher (ed.). Wiener Musikwissenschaftliche Beiträge 24. Wien – Köln – Weimar: Böhlau Verlag, 2013, pp. 109–123.
[24] WEISS. Eduard Josef. Andrea Bernasconi als Opernkomponist. Ph.D. Munich, 1923.