Τελετή μυήσεως μέσα σε μια Βιενέζικη Τεκτονική στοά
κατά την διάρκεια της βασιλείας του Joseph II.
Ο Μότσαρτ κάθετε στην άκρη αριστερά
Ο Μότσαρτ κάθετε στην άκρη αριστερά
Εμφάνιση αναρτήσεων με ετικέτα Mozart. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Mozart. Εμφάνιση όλων των αναρτήσεων
Τρίτη 29 Αυγούστου 2017
Τρίτη 15 Νοεμβρίου 2016
Mozart - Die ihr des unermeßlichen (Masonic Music)
Ο Mozart έχει γράψει υπέροχη μουσική για τις τεκτονικές συνεδρίες, κυρίως κομμάτια για φωνή.
Εδώ σας βάζω τους στίχους από την καντάτα για πιάνο και φωνή :
Εδώ σας βάζω τους στίχους από την καντάτα για πιάνο και φωνή :
Die ihr des unermeßlichen
Recitative
You that revere the Creator of the immeasurable universe,
That call him Jehovah, God, Fu or Brahma,
Listen and hear the words of the Sovereign of all things.
On the loud trumpet hear them resound in all eternity
Throughout the Earth, the Moon and Sun!
Hear them, People! Hear them, you, as well!
You that revere the Creator of the immeasurable universe,
That call him Jehovah, God, Fu or Brahma,
Listen and hear the words of the Sovereign of all things.
On the loud trumpet hear them resound in all eternity
Throughout the Earth, the Moon and Sun!
Hear them, People! Hear them, you, as well!
(Andante)
Love me in my works,
Love order, proportion, harmony!
Love yourselves and your brothers!
Strength and beauty shall be your ornament
And clarity of understanding your nobility.
Hold out the brotherly hand of everlasting friendship;
It was delusion, not truth, that withheld it for so long.
Love order, proportion, harmony!
Love yourselves and your brothers!
Strength and beauty shall be your ornament
And clarity of understanding your nobility.
Hold out the brotherly hand of everlasting friendship;
It was delusion, not truth, that withheld it for so long.
(Allegro)
Break the bonds of this delusion,
Tear the veil of prejudice,
Strip off the garment
That clothes mankind in factions!
Forge sickles from the iron that hitherto
Shed the blood of men, of brothers!
Blow up rocks with the black dust that oft would speed
the murderous lead into the hearts of brothers!
Tear the veil of prejudice,
Strip off the garment
That clothes mankind in factions!
Forge sickles from the iron that hitherto
Shed the blood of men, of brothers!
Blow up rocks with the black dust that oft would speed
the murderous lead into the hearts of brothers!
(Andante)
Do not imagine it is misfortune that holds sway upon my Earth -
It is enlightenment alone that heals
When it spurs you on to better deeds -
People, you that roam the world in misery,
When, in blind folly, you back onto the thorn
That should have urged you ever onward.
Be wise, be strong in brotherhood!
Then will my contentment rest on you,
Then only tears of joy will wet my cheeks,
Then your cries will be shouts of joy,
Then you will make vales of Eden out of deserts,
Then the whole of Nature will be laughing in your eyes,
It is enlightenment alone that heals
When it spurs you on to better deeds -
People, you that roam the world in misery,
When, in blind folly, you back onto the thorn
That should have urged you ever onward.
Be wise, be strong in brotherhood!
Then will my contentment rest on you,
Then only tears of joy will wet my cheeks,
Then your cries will be shouts of joy,
Then you will make vales of Eden out of deserts,
Then the whole of Nature will be laughing in your eyes,
(Allegro)
Then it has been achieved; the true felicity of life.
Η Αγγλική μετάφραση έχει κάποιες διαφορές από το πρωτότυπο από ότι είδα.
Αγάπησε με μέσα από τα έργα μου
Αγάπα την τάξη, την συνέπεια, την συνοχή!
Αγάπησε τον εαυτό σου και τους αδερφούς σου!
Η φυσική σου δύναμη και η ομορφιά να είναι τα στολίδια σου
Κατανόηση την ευγενική σου καταγωγή!
Δώσε την αιώνια φιλία στον αδελφό σου
Η μόνη τρέλα, που την αλήθεια στερήθηκες τόσο πολύ!
Σπάσε τα δεσμά αυτής της ψευδαίσθησης
διέλυσε το πέπλο της προκατάληψης
αποκαλύψου σχίζοντας αυτό το ένδυμα.
σφυρηλάτησε δρεπάνια από το σίδερο
Του ανθρώπου, του αδελφού το αίμα έχει χυθεί τόσο πολύ
Σπάσε τους λίθους με την μαύρη σκόνη
Ο φόνος (του εγώ) οδηγεί γρήγορα στην καρδιά των αδελφών!
Τετάρτη 23 Ιανουαρίου 2013
Mozart The Mason (Matt Haimovitz 2006 Oxingale Records CD)
Mozart The Mason (Matt Haimovitz)
Please don't stay on the title enjoy the music
Jonathan Crow, violin, Douglas McNabney, viola, Matt Haimovitz, cello with artwork by Michael Kuch
On January 24, in celebration of W. A. Mozart’s 250th anniversary year, Oxingale Records presents Mozart the Mason. Released just 3 days before the composer’s January 27th birth date, this tribute includes arresting performances of one of Mozart’s most important chamber works, the seldom heard Divertimento for String Trio, K 563, as well as three sets of Mozart’s Preludes and Fugues K 404a.
Mozart was indeed a Freemason, and he wrote music, including "The Magic Flute," that was directly related to Masonic ideas and rituals.
Mozart was indeed a Freemason, and he wrote music, including "The Magic Flute," that was directly related to Masonic ideas and rituals.
Two works are included on this album; one, the "Divertimento for string trio, K. 563," has a tenuous connection to Freemasonry in that Mozart wrote it for a friend, Michael Puchberg, who was a fellow Mason and often lent Mozart money. It supposedly contains patterns and proportions of threes and sixes that relate to Masonic symbolism, but groups of two and three in Mozartian structures.
Free link in request to soundzgreg@gmail.com
Buy :
http://www.amazon.com/Matt-Haimovitz-Mozart-The-Mason/dp/B000CC4W4Q
Δευτέρα 30 Ιουλίου 2012
Mozart - Requiem Tribute
The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
http://en.wikipedia.org/wiki/Requiem_%28Mozart%29
Πέμπτη 16 Φεβρουαρίου 2012
Mozart’s Sister (2010)
Mozart’s Sister (2010)
Beginning in 1763, the film follows the Mozart family’s exhausting life on the road, traveling by coach from one royal court to the next, where the nobility marvel at young Wolfgang’s prodigious talent. But accomplished singer, harpsichordist, violinist Nannerl, Wolfgang’s elder by five years, first held forth as the family’s infant prodigy. At the film begins, she is still performing, though overshadowed and sidelined as accompanist by Wolfgang’s growing fame. Her father bows to social strictures “for her own good,” refusing to let her continue with the violin or compose, while privately conceding Nannerl’s talent to his wife. No longer a precocious tot, Nannerl chafes at the limitations imposed by her gender and frets about her prospects.
Mozart’s Sister (2010) 480p BDRip MKV 500MB
Info's :
http://www.imdb.com/title/tt1653911/
Trailer :
http://www.youtube.com/embed/iG0Mw_anm_E
Free downloading here :)
https://rapidshare.com/files/3801567833/mozartsis.bd480p.AmoviesZ.com.mkv.rar
Δευτέρα 31 Οκτωβρίου 2011
Mozart - Requiem (Karajan / Berliner Philharmoniker)
Mozart - Requiem (Karajan / Berliner Philharmoniker)
Link :
Password : iceshoweronfire
The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.
It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.
The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.
Source :
http://en.wikipedia.org/wiki/Requiem_%28Mozart%29
Thanks to Ice and classicallibrary.blogspot.com
Σάββατο 22 Οκτωβρίου 2011
Music you must listen during your life No.3 (Μότσαρτ - Ο Μαγικός Αυλός)
Mozart: Die Zauberflote (Ο Μαγικός Αυλός) Claudio Abbado
Links :
O Μαγικός Αυλός, KV 620 (γερμ. Die Zauberflöte) είναι γερμανική όπερα σε δύο πράξεις του Βόλφγκανγκ Αμαντέους Μότσαρτ, βασισμένη σε λιμπρέτο του Εμάνουελ Σικανέντερ (1751-1812). Το έργο είναι γραμμένο στη μορφή του γερμανικού ζίνγκσπιλ (singspiel) και συντέθηκε το 1791, κατά το τελευταίο έτος ζωής του Μότσαρτ. Παρουσιάστηκε για πρώτη φορά στις 30 Σεπτεμβρίου 1791 στο θέατρο του Βάιντεν (Theater auf der Weiden), στη Βιέννη, όπου σημείωσε μεγάλη επιτυχία. Χαρακτηρίζεται ως η τελευταία όπερα του συνθέτη, αν και το μεγαλύτερο μέρος της συντέθηκε πριν το έργο Η Μεγαλοψυχία του Τίτο (La clemenza di Tito), το οποίο ωστόσο παρουσιάστηκε νωρίτερα. Ο Μαγικός Αυλός, έργο πλούσιο σε συμβολισμούς, για το οποίο έχουν προταθεί πολυάριθμες ερμηνείες, διαπνέεται από τις ιδέες του Διαφωτισμού και του Τεκτονισμού, ενσωματώνοντας παράλληλα στοιχεία παραμυθιού.
Η πλοκή της όπερας υπονοείται πως εκτυλίσσεται στην αρχαία Αίγυπτο, ωστόσο δεν προσδιορίζεται με σαφήνεια η εποχή ή ο τόπος. Η πρώτη σκηνή διαδραματίζεται σε ένα βραχώδες τοπίο, ενώ στο βάθος διακρίνεται ένας ναός. Κατά τη διάρκεια του κυνηγιού, ο πρίγκηπας Ταμίνο ζητά βοήθεια (μέρος 1ο, Zu Hilfe! zu Hilfe!...) καθώς καταδιώκεται από ένα τερατόμορφο ερπετό και σώζεται από τρεις νεράιδες που έχουν σταλεί από τη Βασίλισσα της Νύχτας. Την ίδια στιγμή ο «κυνηγός πουλιών» Παπαγκένο αναγγέλλει την άφιξη του μέσω μίας εύθυμης άριας (μέρος 2ο, Der Vogelfänger bin ich, ja, stets lustig, heissa! Hopsassa...). Πείθει τον Ταμίνο πως εκείνος τον έσωσε από το ερπετό, αλλά οι τρεις νεράιδες τον τιμωρούν κλείνοντας το στόμα του με ένα χρυσό λουκέτο, ζητώντας επιπλέον από τον Ταμίνο να ελευθερώσει την κόρη της Βασίλισσας της Νύχτας, πριγκίπισσα Παμίνα, η οποία βρίσκεται φυλακισμένη στο κάστρο του μάγου Ζαράστρο. Όταν εκείνος αντικρίζει ένα πορτρέτο της πριγκίπισσας, την ερωτεύεται και αποφασίζει να αναλάβει τη διάσωσή της (μέρος 3ο, Dies Bildnis ist bezaubernd schön...). Ακολουθεί η εμφάνιση της βασίλισσας (ρετσιτατίβο και άρια, μέρος 4ο, O zitt're nicht, mein lieber Sohn!...), η οποία εκλιπαρεί τον Ταμίνο να σώσει την κόρη της. Μετά την έξοδο της βασίλισσας, ο Παπαγκένο εισάγει το κουιντέτο της πρώτης πράξης (μέρος 5ο, Hm! Hm! Hm!...), ενώ οι νεράιδες αφαιρούν το λουκέτο, όταν υπόσχεται πως δεν θα πει ποτέ ξανά ψέμα. Στο κλείσιμο της σκηνής, ο Ταμίνο και ο συνοδός του Παπαγκένο εφοδιάζονται για την προστασία τους με ένα μαγικό αυλό και μαγικές καμπάνες αντίστοιχα. Η σκηνή μεταφέρεται σε ένα από τα διαμερίσματα του κάστρου τού Ζαράστρο όπου ο Μαυριτανός φύλακας του ναού βλέπει την αιχμάλωτη Παμίνα με ανήθικες διαθέσεις. Ο Παπαγκένο ανακαλύπτει την πριγκίπισσα τη στιγμή που ο δούλος Μονόστατος επιχειρεί να τη βιάσει (τρίο, μέρος 6ο, Du feines Taübschen, nur herein...). Τρομαγμένος, ο Μονόστατος εγκαταλείπει τη σκηνή και ο Παπαγκένο αποκαλύπτει στην πριγκίπισσα τον έρωτα του Ταμίνο προς το πρόσωπό της καθώς και την πρόθεσή του να τη σώσει. Τα δύο πρόσωπα εγκαταλείπουν τη σκηνή τραγουδώντας ένα ντουέτο που ενσωματώνει το ηθικό δίδαγμα του έργου (μέρος 7ο, Bei Maennern, welche Liebe fühlen...).
Στο κλείσιμο της πρώτης πράξης (μέρος 8ο, Zum Ziele führt dich diese Bahn...), το σκηνικό αλλάζει και αποκαλύπτεται ένα μικρό δάσος και τρεις ναοί, της Σοφίας, της Λογικής και της Φύσης. Η επόμενη σκηνή ακολουθεί την άφιξη του Ταμίνο στο κάστρο. Κατευθύνεται αρχικά στους ναούς της λογικής και της φύσης, ωστόσο μία φωνή του υπαγορεύει να οπισθοχωρήσει. Χτυπώντας την πόρτα του ναού της Σοφίας, αποκρίνεται μία φωνή που αποκαλύπτει στον Ταμίνο πως ο Ζαράστρο είναι αρχιερέας του Ναού του Ήλιου, της Ίσιδας και του Όσιρι. Ο Παπαγκένο και η Παμίνα, που έχουν στο μεταξύ δραπετεύσει από το κάστρο, αιχμαλωτίζονται από τον Μονόστατο και τους βοηθούς του αλλά οι καμπάνες του Παπαγκένο τους μαγεύουν και αρχίζουν να χορεύουν ασταμάτητα, καθοδηγώντας παράλληλα τον Ταμίνο προς το μέρος τους. Ξαφνικά ο ήχος τρομπετών αναγγέλλει την άφιξη του πρωθιερέα Ζαράστρο. Η Παμίνα του εξηγεί πως με τη φυγή της δεν επιθυμούσε να εγκαταλείψει το κάστρο του αλλά να προστατευτεί από τον Μονόστατο. Ο Ζαράστρο αποκρίνεται ως έντιμος και σοφός άνθρωπος, είναι συγκαταβατικός μαζί της, ωστόσο αρνείται να αφεθεί ελεύθερη εξαιτίας της αρνητικής επιρροής τής μητέρας της. Την ίδια στιγμή εμφανίζεται ο Μονόστατος με αιχμάλωτο τον Ταμίνο, ο οποίος συναντάται για πρώτη φορά με την πριγκίπισσα Παμίνα. Ο Ζαράστρο διατάζει την τιμωρία του Μονόστατου και την είσοδο των δύο νέων στο ναό για να εξαγνιστούν.
Η αρχή της δεύτερης πράξης διαδραματίζεται σε ένα δάσος με ασημένιους φοίνικες. Ο Ζαράστρο, μαζί με τους ιερείς, κάνει επίκληση στις θεότητες να βοηθήσουν τους νέους να περάσουν επιτυχώς τις διαδικασίες μύησής τους, οι οποίες περιλαμβάνουν τις δοκιμασίες της σιωπής, της φωτιάς και του νερού (άρια και χορωδία, μέρος 10ο, O Isis und Osiris, schenket...). Στη δεύτερη σκηνή, ο Ταμίνο μαζί με τον τρομαγμένο Παπαγκένο βρίσκονται σε ένα σκοτεινό δωμάτιο του ναού. Προειδοποιούνται από τους δύο ιερείς πως πρέπει να προσέχουν ορισμένα μειονεκτήματα των γυναικών και αποχωρούν (μέρος 11ο, Bewahret euch vor Weibertücken...). Ξαφνικά εμφανίζονται οι τρεις νεράιδες που τους ενημερώνουν ότι η βασίλισσα θα τους σώσει από τη δύσκολη θέση στην οποία βρίσκονται (κουιντέτο, μέρος 12ο, Wie? wie? wie? Ihr an diesem Schreckensort?...). Ο Παπαγκένο πείθεται, αλλά ο Ταμίνο τον σωπαίνει. Τελικά οι γυναίκες αποτυγχάνουν στους σκοπούς τους και εξαφανίζονται ενώ ξεσπούν κεραυνοί. Ο Μονόστατος επιχειρεί εκ νέου να βιάσει την κοιμώμενη Παμίνα, ενώ παράλληλα αναρωτιέται αν ένας μαύρος δούλος έχει δικαίωμα να αποζητά τις χαρές της ζωής (άρια, μέρος 13ο, Alles fühlt der Liebe Freuden...). Στη σκηνή εμφανίζεται η Βασίλισσα της Νύχτας η οποία σε διάλογο με την Παμίνα αποκαλύπτει τα κίνητρά της, προστάζοντας την κόρη της να σκοτώσει τον Ζαράστρο με ένα μαχαίρι που της παραδίδει, τραγουδώντας μία από τις δυσκολότερες άριες του λυρικού ρεπερτορίου (μέρος 14ο, Der Hölle Rache...). Μετά την αποχώρησή της, ο Μονόστατος αποσπά το μαχαίρι και αρχίζει να εκβιάζει την Παμίνα, απειλώντας πως θα μαρτυρήσει στον Ζαράστρο όσα είδε, αν εκείνη δεν του παραδοθεί. Την ίδια στιγμή, εμφανίζεται ο αρχιερέας, ο οποίος διώχνει τον δούλο και δίνει πίσω στην Παμίνα το μαχαίρι, δηλώνοντας πως γνωρίζει όλη την αλήθεια και πως σύντομα η εκείνη θα βρίσκεται με τον αγαπημένο της και η μητέρας της στο κάστρο της, αφού η εκδίκηση δεν έχει θέση στο ναό παρά μόνο η αγάπη (μέρος 15ο, In diesen heil'gen Hallen...). Σε μία από τις αίθουσες του ναού, ο Παπαγκένο συνεχίζει να φλυαρεί, παρά τον όρκο της σιωπής που έδωσε. Όταν ζητά λίγο νερό, εμφανίζεται μπροστά τους μία άσχημη ηλικιωμένη γυναίκα, πρόθυμη να ικανοποιήσει την επιθυμία του. Στο διάλογό της με τον Παπαγκένο, πριν εξαφανιστεί ξαφνικά, αποκαλύπτει πως είναι 18 ετών και πως ο αγαπημένος της ονομάζεται Παπαγκένο. Τα τρία πνεύματα εμφανίζονται να αιωρούνται στη σκηνή και επιστρέφουν στους δύο άνδρες το μαγικό αυλό και τις καμπάνες, τραγουδώντας ένα τρίο. Ο Ταμίνο παίζει τον μαγικό αυλό και τον ήχο του ακολουθεί η Παμίνα, η οποία προσπαθεί να μιλήσει στον πρίγκηπα. Εκείνος δεν αποκρίνεται, στις ερωτήσεις της, τηρώντας τον όρκο σιωπής του, γεγονός που απελπίζει την Παμίνα, η οποία τραγουδά μία θλιμμένη άρια.
Στη συνέχεια το σκηνικό μεταφέρεται στο θόλο μίας πυραμίδας, όπου ο αφηγητής και ορισμένοι ιερείς τραγουδούν ένα χορωδιακό για τον εορτασμό τη μύησης του Ταμίνο, ο οποίος τοποθετείται μπροστά στο Ζαράστρο. Εκείνος προστάζει την άφιξη της Παμίνα, η οποία κάνει νέες ερωτήσεις τις οποίες φροντίζει να απαντήσει ο Ζαράστρο (τρίο, μέρος 19ο, Soll ich dich, Teurer, nicht mehr seh'n?...). Η ηλικιωμένη γυναίκα εμφανίζεται εκ νέου μπροστά στον Παπαγκένο και του ζητά να παντρευτούν. Όταν εκείνος απαντά καταφατικά, εκείνη μεταμορφώνεται σε μία όμορφη κοπέλα, ωστόσο οι ιερείς δεν του επιτρέπουν να την αγγίξει, διότι δεν τήρησε τον όρκο σιωπής. Ενώ το σκηνικό μας μεταφέρει στην τοποθεσία δύο βουνών, η Παμίνα, μαζί με τον αγαπημένο της, ετοιμάζονται να περάσουν τις δοκιμασίες της φωτιάς και του νερού. Το κατορθώνουν με τη βοήθεια του μαγικού αυλού που τους προστατεύει και στη συνέχεια, έχοντας ολοκληρωθεί η διαδικασία μύησή τους, φθάνουν στην πύλη του ναού της Ίσιδας όπου γίνονται δεκτοί με εύθυμες φωνές (χορωδία, Triumph! Triumph! Du edles Paar!...). O Παπαγκένο μονολογεί για την ατυχία του και απελπισμένος σκέφτεται να αυτοκτονήσει, αλλά την ίδια στιγμή τα τρία πνεύματα τού θυμίζουν τις καμπάνες. Οι μαγικές ιδιότητές τους φέρνουν πίσω την Παπαγκένα και οι δύο ερωτευμένοι φεύγουν μαζί τραγουδώντας ένα εύθυμο ντουέτο (Papageno! Papagena!). Στο κλείσιμο της δεύτερης πράξης, οι δυνάμεις του κακού, ο Μονόστατος, η Βασίλισσα της Νύχτας και οι τρεις συνοδοί της, προσπαθούν να φτάσουν στο ναό, κρατώντας μαύρους δαυλούς. Ξαφνικά, εκτυφλωτικές δέσμες φωτός διαχέονται μέσα στο σκοτάδι, με αποτέλεσμα να χάσουν τις δυνάμεις τους και να χαθούν στα έγκατα της γης. Στην τελευταία σκηνή, που εκτυλίσσεται στο Ναό του Ήλιου, παρουσιάζονται ο Ζαράστρο, η Παμίνα και ο Ταμίνο με ιερατικά άμφια, οι ιερείς και τα τρία πνεύματα. Ο Ζαράστρο τραγουδά πως «οι ακτίνες του ήλιου έδιωξαν τη νύχτα και τις δυνάμεις του κακού» για να ακολουθήσει ο χορός των ιερέων που επαινεί τους μυημένους.
Πρώτη πράξη
Η πλοκή της όπερας υπονοείται πως εκτυλίσσεται στην αρχαία Αίγυπτο, ωστόσο δεν προσδιορίζεται με σαφήνεια η εποχή ή ο τόπος. Η πρώτη σκηνή διαδραματίζεται σε ένα βραχώδες τοπίο, ενώ στο βάθος διακρίνεται ένας ναός. Κατά τη διάρκεια του κυνηγιού, ο πρίγκηπας Ταμίνο ζητά βοήθεια (μέρος 1ο, Zu Hilfe! zu Hilfe!...) καθώς καταδιώκεται από ένα τερατόμορφο ερπετό και σώζεται από τρεις νεράιδες που έχουν σταλεί από τη Βασίλισσα της Νύχτας. Την ίδια στιγμή ο «κυνηγός πουλιών» Παπαγκένο αναγγέλλει την άφιξη του μέσω μίας εύθυμης άριας (μέρος 2ο, Der Vogelfänger bin ich, ja, stets lustig, heissa! Hopsassa...). Πείθει τον Ταμίνο πως εκείνος τον έσωσε από το ερπετό, αλλά οι τρεις νεράιδες τον τιμωρούν κλείνοντας το στόμα του με ένα χρυσό λουκέτο, ζητώντας επιπλέον από τον Ταμίνο να ελευθερώσει την κόρη της Βασίλισσας της Νύχτας, πριγκίπισσα Παμίνα, η οποία βρίσκεται φυλακισμένη στο κάστρο του μάγου Ζαράστρο. Όταν εκείνος αντικρίζει ένα πορτρέτο της πριγκίπισσας, την ερωτεύεται και αποφασίζει να αναλάβει τη διάσωσή της (μέρος 3ο, Dies Bildnis ist bezaubernd schön...). Ακολουθεί η εμφάνιση της βασίλισσας (ρετσιτατίβο και άρια, μέρος 4ο, O zitt're nicht, mein lieber Sohn!...), η οποία εκλιπαρεί τον Ταμίνο να σώσει την κόρη της. Μετά την έξοδο της βασίλισσας, ο Παπαγκένο εισάγει το κουιντέτο της πρώτης πράξης (μέρος 5ο, Hm! Hm! Hm!...), ενώ οι νεράιδες αφαιρούν το λουκέτο, όταν υπόσχεται πως δεν θα πει ποτέ ξανά ψέμα. Στο κλείσιμο της σκηνής, ο Ταμίνο και ο συνοδός του Παπαγκένο εφοδιάζονται για την προστασία τους με ένα μαγικό αυλό και μαγικές καμπάνες αντίστοιχα. Η σκηνή μεταφέρεται σε ένα από τα διαμερίσματα του κάστρου τού Ζαράστρο όπου ο Μαυριτανός φύλακας του ναού βλέπει την αιχμάλωτη Παμίνα με ανήθικες διαθέσεις. Ο Παπαγκένο ανακαλύπτει την πριγκίπισσα τη στιγμή που ο δούλος Μονόστατος επιχειρεί να τη βιάσει (τρίο, μέρος 6ο, Du feines Taübschen, nur herein...). Τρομαγμένος, ο Μονόστατος εγκαταλείπει τη σκηνή και ο Παπαγκένο αποκαλύπτει στην πριγκίπισσα τον έρωτα του Ταμίνο προς το πρόσωπό της καθώς και την πρόθεσή του να τη σώσει. Τα δύο πρόσωπα εγκαταλείπουν τη σκηνή τραγουδώντας ένα ντουέτο που ενσωματώνει το ηθικό δίδαγμα του έργου (μέρος 7ο, Bei Maennern, welche Liebe fühlen...).
Στο κλείσιμο της πρώτης πράξης (μέρος 8ο, Zum Ziele führt dich diese Bahn...), το σκηνικό αλλάζει και αποκαλύπτεται ένα μικρό δάσος και τρεις ναοί, της Σοφίας, της Λογικής και της Φύσης. Η επόμενη σκηνή ακολουθεί την άφιξη του Ταμίνο στο κάστρο. Κατευθύνεται αρχικά στους ναούς της λογικής και της φύσης, ωστόσο μία φωνή του υπαγορεύει να οπισθοχωρήσει. Χτυπώντας την πόρτα του ναού της Σοφίας, αποκρίνεται μία φωνή που αποκαλύπτει στον Ταμίνο πως ο Ζαράστρο είναι αρχιερέας του Ναού του Ήλιου, της Ίσιδας και του Όσιρι. Ο Παπαγκένο και η Παμίνα, που έχουν στο μεταξύ δραπετεύσει από το κάστρο, αιχμαλωτίζονται από τον Μονόστατο και τους βοηθούς του αλλά οι καμπάνες του Παπαγκένο τους μαγεύουν και αρχίζουν να χορεύουν ασταμάτητα, καθοδηγώντας παράλληλα τον Ταμίνο προς το μέρος τους. Ξαφνικά ο ήχος τρομπετών αναγγέλλει την άφιξη του πρωθιερέα Ζαράστρο. Η Παμίνα του εξηγεί πως με τη φυγή της δεν επιθυμούσε να εγκαταλείψει το κάστρο του αλλά να προστατευτεί από τον Μονόστατο. Ο Ζαράστρο αποκρίνεται ως έντιμος και σοφός άνθρωπος, είναι συγκαταβατικός μαζί της, ωστόσο αρνείται να αφεθεί ελεύθερη εξαιτίας της αρνητικής επιρροής τής μητέρας της. Την ίδια στιγμή εμφανίζεται ο Μονόστατος με αιχμάλωτο τον Ταμίνο, ο οποίος συναντάται για πρώτη φορά με την πριγκίπισσα Παμίνα. Ο Ζαράστρο διατάζει την τιμωρία του Μονόστατου και την είσοδο των δύο νέων στο ναό για να εξαγνιστούν.
Δεύτερη πράξη
Η αρχή της δεύτερης πράξης διαδραματίζεται σε ένα δάσος με ασημένιους φοίνικες. Ο Ζαράστρο, μαζί με τους ιερείς, κάνει επίκληση στις θεότητες να βοηθήσουν τους νέους να περάσουν επιτυχώς τις διαδικασίες μύησής τους, οι οποίες περιλαμβάνουν τις δοκιμασίες της σιωπής, της φωτιάς και του νερού (άρια και χορωδία, μέρος 10ο, O Isis und Osiris, schenket...). Στη δεύτερη σκηνή, ο Ταμίνο μαζί με τον τρομαγμένο Παπαγκένο βρίσκονται σε ένα σκοτεινό δωμάτιο του ναού. Προειδοποιούνται από τους δύο ιερείς πως πρέπει να προσέχουν ορισμένα μειονεκτήματα των γυναικών και αποχωρούν (μέρος 11ο, Bewahret euch vor Weibertücken...). Ξαφνικά εμφανίζονται οι τρεις νεράιδες που τους ενημερώνουν ότι η βασίλισσα θα τους σώσει από τη δύσκολη θέση στην οποία βρίσκονται (κουιντέτο, μέρος 12ο, Wie? wie? wie? Ihr an diesem Schreckensort?...). Ο Παπαγκένο πείθεται, αλλά ο Ταμίνο τον σωπαίνει. Τελικά οι γυναίκες αποτυγχάνουν στους σκοπούς τους και εξαφανίζονται ενώ ξεσπούν κεραυνοί. Ο Μονόστατος επιχειρεί εκ νέου να βιάσει την κοιμώμενη Παμίνα, ενώ παράλληλα αναρωτιέται αν ένας μαύρος δούλος έχει δικαίωμα να αποζητά τις χαρές της ζωής (άρια, μέρος 13ο, Alles fühlt der Liebe Freuden...). Στη σκηνή εμφανίζεται η Βασίλισσα της Νύχτας η οποία σε διάλογο με την Παμίνα αποκαλύπτει τα κίνητρά της, προστάζοντας την κόρη της να σκοτώσει τον Ζαράστρο με ένα μαχαίρι που της παραδίδει, τραγουδώντας μία από τις δυσκολότερες άριες του λυρικού ρεπερτορίου (μέρος 14ο, Der Hölle Rache...). Μετά την αποχώρησή της, ο Μονόστατος αποσπά το μαχαίρι και αρχίζει να εκβιάζει την Παμίνα, απειλώντας πως θα μαρτυρήσει στον Ζαράστρο όσα είδε, αν εκείνη δεν του παραδοθεί. Την ίδια στιγμή, εμφανίζεται ο αρχιερέας, ο οποίος διώχνει τον δούλο και δίνει πίσω στην Παμίνα το μαχαίρι, δηλώνοντας πως γνωρίζει όλη την αλήθεια και πως σύντομα η εκείνη θα βρίσκεται με τον αγαπημένο της και η μητέρας της στο κάστρο της, αφού η εκδίκηση δεν έχει θέση στο ναό παρά μόνο η αγάπη (μέρος 15ο, In diesen heil'gen Hallen...). Σε μία από τις αίθουσες του ναού, ο Παπαγκένο συνεχίζει να φλυαρεί, παρά τον όρκο της σιωπής που έδωσε. Όταν ζητά λίγο νερό, εμφανίζεται μπροστά τους μία άσχημη ηλικιωμένη γυναίκα, πρόθυμη να ικανοποιήσει την επιθυμία του. Στο διάλογό της με τον Παπαγκένο, πριν εξαφανιστεί ξαφνικά, αποκαλύπτει πως είναι 18 ετών και πως ο αγαπημένος της ονομάζεται Παπαγκένο. Τα τρία πνεύματα εμφανίζονται να αιωρούνται στη σκηνή και επιστρέφουν στους δύο άνδρες το μαγικό αυλό και τις καμπάνες, τραγουδώντας ένα τρίο. Ο Ταμίνο παίζει τον μαγικό αυλό και τον ήχο του ακολουθεί η Παμίνα, η οποία προσπαθεί να μιλήσει στον πρίγκηπα. Εκείνος δεν αποκρίνεται, στις ερωτήσεις της, τηρώντας τον όρκο σιωπής του, γεγονός που απελπίζει την Παμίνα, η οποία τραγουδά μία θλιμμένη άρια.
Στη συνέχεια το σκηνικό μεταφέρεται στο θόλο μίας πυραμίδας, όπου ο αφηγητής και ορισμένοι ιερείς τραγουδούν ένα χορωδιακό για τον εορτασμό τη μύησης του Ταμίνο, ο οποίος τοποθετείται μπροστά στο Ζαράστρο. Εκείνος προστάζει την άφιξη της Παμίνα, η οποία κάνει νέες ερωτήσεις τις οποίες φροντίζει να απαντήσει ο Ζαράστρο (τρίο, μέρος 19ο, Soll ich dich, Teurer, nicht mehr seh'n?...). Η ηλικιωμένη γυναίκα εμφανίζεται εκ νέου μπροστά στον Παπαγκένο και του ζητά να παντρευτούν. Όταν εκείνος απαντά καταφατικά, εκείνη μεταμορφώνεται σε μία όμορφη κοπέλα, ωστόσο οι ιερείς δεν του επιτρέπουν να την αγγίξει, διότι δεν τήρησε τον όρκο σιωπής. Ενώ το σκηνικό μας μεταφέρει στην τοποθεσία δύο βουνών, η Παμίνα, μαζί με τον αγαπημένο της, ετοιμάζονται να περάσουν τις δοκιμασίες της φωτιάς και του νερού. Το κατορθώνουν με τη βοήθεια του μαγικού αυλού που τους προστατεύει και στη συνέχεια, έχοντας ολοκληρωθεί η διαδικασία μύησή τους, φθάνουν στην πύλη του ναού της Ίσιδας όπου γίνονται δεκτοί με εύθυμες φωνές (χορωδία, Triumph! Triumph! Du edles Paar!...). O Παπαγκένο μονολογεί για την ατυχία του και απελπισμένος σκέφτεται να αυτοκτονήσει, αλλά την ίδια στιγμή τα τρία πνεύματα τού θυμίζουν τις καμπάνες. Οι μαγικές ιδιότητές τους φέρνουν πίσω την Παπαγκένα και οι δύο ερωτευμένοι φεύγουν μαζί τραγουδώντας ένα εύθυμο ντουέτο (Papageno! Papagena!). Στο κλείσιμο της δεύτερης πράξης, οι δυνάμεις του κακού, ο Μονόστατος, η Βασίλισσα της Νύχτας και οι τρεις συνοδοί της, προσπαθούν να φτάσουν στο ναό, κρατώντας μαύρους δαυλούς. Ξαφνικά, εκτυφλωτικές δέσμες φωτός διαχέονται μέσα στο σκοτάδι, με αποτέλεσμα να χάσουν τις δυνάμεις τους και να χαθούν στα έγκατα της γης. Στην τελευταία σκηνή, που εκτυλίσσεται στο Ναό του Ήλιου, παρουσιάζονται ο Ζαράστρο, η Παμίνα και ο Ταμίνο με ιερατικά άμφια, οι ιερείς και τα τρία πνεύματα. Ο Ζαράστρο τραγουδά πως «οι ακτίνες του ήλιου έδιωξαν τη νύχτα και τις δυνάμεις του κακού» για να ακολουθήσει ο χορός των ιερέων που επαινεί τους μυημένους.
Περισσότερα:
el.wikipedia.org/wiki/Ο_Μαγικός_Αυλός
Buy :
http://www.amazon.com/Mozart-Die-Zauberflote-Magic-Flute/dp/B000EGFV2C
http://www.deutschegrammophon.com/special/?ID=abbado-zauberfloete
http://www.amazon.com/Mozart-Die-Zauberflote-Magic-Flute/dp/B000EGFV2C
http://www.deutschegrammophon.com/special/?ID=abbado-zauberfloete
Mozart - The Magic Flute
Playbill for the premiere performance of the Magic Flute
Divine and wondrous spirit of Eternity,
Thine herald of the Muses,
Whose harmonies have glorified the Creator,
and preserved our sacred rights
as Man: truly, honestly and dearly;
Give us thy sacred offering!
Thine herald of the Muses,
Whose harmonies have glorified the Creator,
and preserved our sacred rights
as Man: truly, honestly and dearly;
Give us thy sacred offering!
The Magic Flute (German: Die Zauberflöte, K. 620)
is an opera in two acts composed in 1791 by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue.
Premiere and reception :
The opera was premiered in Vienna on 30 September 1791, at the suburban Freihaus-Theater auf der Wieden.Mozart conducted the orchestra, Schikaneder himself played Papageno, while the role of the Queen of the Night was sung by Mozart's sister-in-law Josepha Hofer.
On the reception of the opera, Mozart scholar Maynard Solomon writes:
Although there were no reviews of the first performances, it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the 1790s.
The success of The Magic Flute lifted the spirits of its composer, who had fallen ill while in Prague a few weeks before. Solomon continues:
Mozart's delight is reflected in his last three letters, written to Constanze, who with her sister Sophie was spending the second week of October in Baden. "I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. "But what always gives me the most pleasure is the silent approval! You can see how this opera is becoming more and more esteemed." … He went to hear his opera almost every night, taking along [friends and] relatives.
The opera celebrated its 100th performance in November 1792. Mozart did not have the pleasure of witnessing this milestone, having died of his illness on 5 December 1791.
Since its premiere, The Magic Flute has always been one of the most beloved works in the operatic repertoire, and is presently the most frequently performed opera world wide.
On the reception of the opera, Mozart scholar Maynard Solomon writes:
Although there were no reviews of the first performances, it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the 1790s.
The success of The Magic Flute lifted the spirits of its composer, who had fallen ill while in Prague a few weeks before. Solomon continues:
Mozart's delight is reflected in his last three letters, written to Constanze, who with her sister Sophie was spending the second week of October in Baden. "I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. "But what always gives me the most pleasure is the silent approval! You can see how this opera is becoming more and more esteemed." … He went to hear his opera almost every night, taking along [friends and] relatives.
The opera celebrated its 100th performance in November 1792. Mozart did not have the pleasure of witnessing this milestone, having died of his illness on 5 December 1791.
Since its premiere, The Magic Flute has always been one of the most beloved works in the operatic repertoire, and is presently the most frequently performed opera world wide.
Background :
The Magic Flute is noted for its prominent Masonic elements; Schikaneder and Mozart were Masons and lodge brothers (see: Mozart and Freemasonry). The opera is also influenced by Enlightenment philosophy, and can be regarded as an allegory advocating enlightened absolutism. The Queen of the Night represents a dangerous form of obscurantism or, according to some, the anti-Masonic Empress Maria Theresa. Her antagonist Sarastro symbolises the enlightened sovereign who rules according to principles based on reason, wisdom, and nature. The story itself portrays the education of mankind, progressing from chaos through religious superstition to rationalistic enlightenment, by means of trial (Tamino) and error (Papageno), ultimately to make "the Earth a heavenly kingdom, and mortals like the gods". ("Dann ist die Erd' ein Himmelreich, und Sterbliche den Göttern gleich." This couplet is sung in the finales to both acts.)
The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack (the first Tamino), and had contributed to the compositions of the troupe, which were often collaboratively written. Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K. 625/592a) and perhaps other passages. Like The Magic Flute, Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles.
Mozart evidently wrote keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors, asked to sing for the occasion. Thus, the vocal lines for Papageno and Monostatos are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels.
A particularly demanding aria is the Queen of the Night's "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell boils in my heart"), which reaches a high F6 (see Scientific pitch notation), rare in opera. At the low end, the part of Sarastro includes a conspicuous F in a few locations.
On 28 December 1791, 3½ weeks after Mozart's death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn. Nikolaus Simrock published this text in the first full-score edition (Bonn, 1814), claiming that it was "in accordance with Mozart's own wishes" (Allgemeine musikalische Zeitung, 13 September 1815)
The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack (the first Tamino), and had contributed to the compositions of the troupe, which were often collaboratively written. Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K. 625/592a) and perhaps other passages. Like The Magic Flute, Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles.
Mozart evidently wrote keeping in mind the skills of the singers intended for the premiere, which included both virtuosi and ordinary comic actors, asked to sing for the occasion. Thus, the vocal lines for Papageno and Monostatos are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels.
A particularly demanding aria is the Queen of the Night's "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell boils in my heart"), which reaches a high F6 (see Scientific pitch notation), rare in opera. At the low end, the part of Sarastro includes a conspicuous F in a few locations.
On 28 December 1791, 3½ weeks after Mozart's death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn. Nikolaus Simrock published this text in the first full-score edition (Bonn, 1814), claiming that it was "in accordance with Mozart's own wishes" (Allgemeine musikalische Zeitung, 13 September 1815)
Synopsis :
Act 1
Scene 1
After the Overture, we are introduced to Tamino, a handsome prince who is lost in a distant land and is being pursued by a serpent (quartet: "Zu Hilfe! Zu Hilfe!"). He faints from fatigue and three ladies, attendants of the Queen of the Night, appear and kill the serpent. They find the unconscious prince extremely attractive, and each tries to convince the other two to leave, in order to be alone with him. After arguing, they decide that it is best that they all leave together.
Tamino recovers, and Papageno enters, arrayed entirely in the plumage of birds. He sings of his job as a bird catcher and the fact that he is longing for a wife, or, at least, a girlfriend (aria: "Der Vogelfänger bin ich ja"). Papageno tells Tamino that he, Papageno, strangled the serpent with his bare hands. At this moment, the three ladies appear and punish his lie by placing a padlock over his mouth. They tell Tamino that they were responsible for saving him, and show to the prince a portrait of a young maiden, Pamina, with whom he falls instantly in love (aria: "Dies Bildnis ist bezaubernd schön" / "This image is enchantingly lovely").
The Queen of the Night now appears. She tells Tamino that the girl in the portrait, Pamina, is her daughter, who has been captured by her enemy, Sarastro. She demands that Tamino go to Sarastro's temple and rescue Pamina, promising that he can marry Pamina in return. (Recitative and aria: "O zittre nicht, mein lieber Sohn" / "Oh, tremble not, my dear son! You are innocent, wise, pious".) After the Queen leaves, the ladies give Tamino a magic flute that can change men's hearts, remove the padlock from Papageno, and present him with a chime of bells to protect him. Papageno is ordered to accompany Tamino on his rescue-mission, and together they set forth. (Quintet: "Hm hm hm hm".) The ladies introduce three child-spirits, who will guide Tamino and Papageno to Sarastro's temple.
Scene 2: A room in Sarastro's palace
Pamina is dragged in by Sarastro's moorish slave Monostatos. (Trio: "Du feines Täubchen, nur herein!".) Papageno, sent ahead by Tamino to help find Pamina, enters. Monostatos and Papageno are each terrified by the other's strange appearance and both flee the stage. But Papageno soon returns and announces to Pamina that her mother has sent Tamino to her aid. Pamina rejoices to hear that Tamino is in love with her, and then offers sympathy and hope to Papageno, who longs for a wife to love. Together they sing an ode to love (duet: "Bei Männern welche Liebe fühlen"), then depart.
Scene 3: Grove and entrance to the temples
The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains faithful and steadfast, he will succeed in rescuing Pamina. As Tamino reaches the temple, he is denied entrance at two of its three gates, by invisible voices singing "Go back!". But when he tries the third gate, an old priest appears and gradually convinces him that Sarastro is benevolent, not evil, and that women's opinions should not be taken seriously. After the priest leaves him, Tamino plays his magic flute in hopes of summoning Pamina and Papageno. The tones summon a group of magically tamed beasts, which listen in rapture to Tamino's music. Then Tamino hears Papageno's pipes, which Papageno, offstage, is blowing in response to the sound of Tamino's flute. Ecstatic at the thought of meeting Pamina, Tamino hurries off.
Papageno appears with Pamina, following the distant sound of Tamino's flute. The two are suddenly captured by Monostatos and his slaves. Papageno then works an enchantment on the slaves using his magic bells, and they dance, mesmerised by the music of the bells, off the stage.
Papageno now hears the approach of Sarastro and his large retinue. He is frightened and asks Pamina what they should say. She answers that they must tell the truth. Sarastro and his followers enter.
Overcome by Sarastro's majesty, Pamina falls at his feet and confesses that she was trying to escape because Monostatos had demanded her love. Sarastro receives her kindly and tells her that he will not force her inclinations, but cannot give her freedom nor return her to her mother, because she must be guided by a man.
Monostatos then enters with Tamino captive. The two lovers see one another for the first time and instantly embrace, causing indignation among Sarastro's followers. Monostatos tries to point the finger of blame at Tamino. Sarastro, however, punishes Monostatos for his lustful intentions toward Pamina, and leads Tamino and Papageno into the temple of ordeal. The Brotherhood send them off in a glorious chorus.
Act 2
Scene 4: A grove of palms
Scene 4: A grove of palms
The council of priests of Isis and Osiris, headed by Sarastro, enters to the sound of a solemn march. They determine that Tamino and Pamina shall be married, and that Tamino will succeed Sarastro as leader, if he succeeds in passing the priests' trials. Sarastro explains that the Queen of the Night has attempted to bewilder the people with superstition and groundless fears. He then sings a prayer to the gods Isis and Osiris, asking them to protect Tamino and Pamina and to take them into their heavenly dwelling place should they die in the course of their trials (Aria: "O Isis und Osiris").
Scene 5: The courtyard of the temple of Ordeal
Tamino and Papageno are led into the temple. A priest cautions Tamino that this is his last chance to turn back, but Tamino boldly promises that he will undergo every trial to win his Pamina. Papageno declines the trials at first, saying that he doesn't care much about wisdom or enlightenment, and only wants food, wine, and a pretty woman. The priest tells Papageno that Sarastro may have a woman for him if he undergoes the trials, and that she is called Papagena. Reluctantly, Papageno agrees to undergo the trials.
The first test requires that Tamino and Papageno remain silent while being tempted and threatened by women. (Short duet by two priests: "Bewahret euch von Weibertücken") The three ladies appear, and tempt them to speak. (Quintet: "Wie, wie, wie") Papageno cannot resist answering the ladies, but Tamino remains aloof, speaking only to Papageno, and then only to tell him to be quiet. Seeing that Tamino will not speak to them, the ladies withdraw in confusion.
One priest congratulates Tamino for successfully passing the first test. Another priest scolds Papageno for his weakness, and tells him that he will never know the enlightened bliss of the gods. Papageno replies that there are a great many people in the world like himself, unenlightened but happy, and asks why he must undergo tests if Sarastro already has a woman selected for him. The priest says that it is the only way.
Scene 6: A garden, Pamina asleep
Monostatos approaches and gazes upon Pamina with rapture. (Aria: "Alles fühlt der Liebe Freuden") He is about to kiss her sleeping face, when the Queen of the Night appears and frightens him away. She wakes Pamina and gives her a dagger, ordering her to kill Sarastro with it. (Aria: "Der Hölle Rache kocht in meinem Herzen" / "Hell's vengeance boileth in mine heart"). After she leaves, Monostatos returns and tries to force Pamina's love by threatening to reveal the murder-plot, but Sarastro enters and drives him off. Sarastro forgives and comforts Pamina (Aria: "In diesen heil'gen Hallen").
Scene 7: A hall in the temple of Ordeal
Tamino and Papageno must again suffer the test of silence, a more difficult variation this time: An old woman enters and offers Papageno a drink of water. Although it is forbidden, he engages her in conversation and asks her how old she is. She replies that she is eighteen years and two minutes old. Papageno bursts into laughter and teases her that she must have a boyfriend. She replies that she does and that his name is Papageno. Then she disappears without telling him her name. Pamina enters and tries to speak with Tamino. Since Tamino silently refuses to answer, Pamina believes he no longer loves her. (Aria: "Ach, ich fühl's, es ist verschwunden") She leaves in despair.
Scene 8: The pyramids
The Priests of the Temple celebrate Tamino's successes so far, and predict that he will succeed and become worthy of their order (Chorus: "O Isis und Osiris"). Sarastro separates Pamina and Tamino. (Trio: Sarastro, Pamina, Tamino – "Soll ich dich, Teurer, nicht mehr sehn?") They exit and Papageno enters. Papageno plays his magic bells and sings a ditty about his desire for a wife. (Aria, Papageno: "Ein Mädchen oder Weibchen"). The elderly woman reappears and demands that he pledge engagement to her, warning that if he doesn't, he will remain alone forever. Reluctantly, Papageno promises to love her faithfully. She immediately transforms into the young and pretty Papagena. As Papageno rushes to embrace her, however, the priests drive her away with thunder and lightning.
Scene 9: An open country
The three child-spirits see Pamina attempting to commit suicide because she believes Tamino has abandoned her. They restrain her and take away her dagger, promising that she will see him soon. (Quartet: "Bald prangt, den Morgen zu verkünden").
Scene 10: A hall or room with two doors: one leading to a chamber of trial by water and the other to a cavern of fire.
Two men in armour lead Tamino onstage. They recite, in unison, one of the formal creeds of the goddess Isis, promising enlightenment to those who successfully overcome the fear of death ("Der, welcher wandert diese Strasse voll Beschwerden"). This recitation takes the musical form of a Baroque chorale prelude, to the tune of Martin Luther's hymn Ach Gott, vom Himmel sieh darein (Oh God, look down from heaven). Tamino declares he is ready to be tested, but Pamina, offstage, calls for him to wait for her. The men in armour assure Tamino that the trial by silence is over and he is free to speak with her. She enters, and exchanges loving words with Tamino ("Tamino mein, o welch ein Glück!"). United in harmony, they enter the trial-caverns together. Protected by the music of the magic flute, they pass unscathed through fire and water. Offstage, the priests hail their triumph.
Papageno, having given up hope of winning Papagena, tries to hang himself (Aria/Quartet: "Papagena! Papagena! Papagena!"), but at the last minute the three child-spirits appear and remind him that he should use his magic bells to summon her, instead. Papagena reenters, and the happy couple is united, stuttering at first in astonishment (Duet: "Pa … pa … pa ...").
The traitorous Monostatos appears with the Queen of the Night and her ladies, plotting to destroy the temple ("Nur stille, stille"), but they are magically cast out into eternal night.
The scene now changes to the entrance of the chief temple, where Sarastro bids the young lovers welcome and unites them. The final chorus sings the praises of Tamino and Pamina in enduring their trials and gives thanks to the gods.
The opera may sometimes be divided into three acts in which case, the third act typically begins with scene 8. Even in the two-act version, the scenes in Act 2 are sometimes rearranged, with the Sarastro-Tamino-Pamina trio occurring earlier and Sarastro's prayer occurring later.
http://en.wikipedia.org/wiki/The_Magic_Flute
Πέμπτη 20 Οκτωβρίου 2011
Mozart - Complete Masonic Music (Istvan Kertesz) Decca
Mozart - Complete Masonic Music!
Werner Krenn, Tom Krause,Gerog Fischer (Piano / Organ Accompanist)
The Edinburgh Festival Chorus (Arthur Oldham : Chorus Master )
Istvan Kertesz Conducting The London Symphony Orchestra
Label : Decca, 1969 London Release!
Buy : http://www.classicalvinyl.com/vinyl-records/sxl-6409-complete-masonic-music-mozart.html
Info's : http://en.wikipedia.org/wiki/Mozart_and_Freemasonry
Mozart's lodges :
Mozart was admitted as an apprentice to the Viennese Masonic lodge called "Zur Wohltätigkeit" ("Beneficence") on 14 December 1784.[1] He was promoted to journeyman Mason on 7 January 1785, and became a master Mason "shortly thereafter".Mozart also attended the meetings of another lodge, called "Zur wahren Eintracht" ("True Concord"). According to Otto Erich Deutsch, this lodge was "the largest and most aristocratic in Vienna. ... Mozart, as the best of the musical 'Brothers,' was welcome in all the lodges." It was headed by the naturalist Ignaz von Born.
Mozart's own lodge "Zur Wohltätigkeit" was consolidated with two others in December of 1785, under the Imperial reform of Masonry (the Freimaurerpatent, "Masonic Decree") of 11 December 1785, and thus Mozart came to belong to the lodge called "Zur Neugekrönten Hoffnung" (New Crowned Hope).
At least as far as surviving Masonic documents can tell us, Mozart was well regarded by his fellow Masons. Many of his friends were Masons.
During his visit to Vienna in 1785, Mozart's father Leopold also became a Mason.
Masonic ideology and Masonic music :
Mozart's position within the Masonic movement, according to Maynard Solomon, lay with the rationalist, Enlightenment-inspired membership, as opposed to those members oriented toward mysticism and the occult. This rationalist faction is identified by Katherine Thomson as the Illuminati, a masonically inspired group which was founded by Bavarian professor of canon law Adam Weishaupt, who was also a friend of Mozart. The Illuminati espoused the Enlightenment-inspired, humanist views proposed by the French philosophers Jean-Jacques Rousseau and Denis Diderot. For example,the Illuminati contended that social rank was not coincident with nobility of the spirit, but that people of lowly class could be noble in spirit just as nobly born could be mean-spirited. This view appears in Mozart's operas; for example, in The Marriage of Figaro, an opera based on a play by Pierre Beaumarchais (another Freemason), the lowly-born Figaro is the hero and the Count Almaviva is the boor. However, Masonic scholars themselves,and non-Masonic scholars who have studied the matter more closely strongly dispute both the conflation of Freemasonry with Illuminati elements perse, and especially Mozart as Mason in relation to these elements.
The Freemasons used music in their ceremonies, and adopted Rousseau's humanist views on the meaning of music. "The purpose of music in the {Masonic} ceremonies is to spread good thoughts and unity among the members" so that they may be "united in the idea of innocence and joy," wrote L.F. Lenz in a contemporary edition of Masonic songs. Music should "inculcate feelings of humanity, wisdom and patience, virtue and honesty, loyalty to friends, and finally an understanding of freedom."
These views suggest a musical style quite unlike the style of the Galant, which was dominant at the time. Galant style music was typically melodic with harmonic accompaniment, rather than polyphonic; and the melodic line was often richly ornamented with trills, runs and other virtuosic effects. The style promoted by the Masonic view was much less virtuosic and unornamented. Mozart's style of composition is often referred to as "humanist" and is in accord with this Masonic view of music.
The music of the Freemasons contained musical phrases and forms that held specific semiotic meanings. For example, the Masonic initiation ceremony began with the candidate knocking three times at the door to ask admittance. This is expressed musically as a dotted figure:
List of Mozart's Masonic compositions :
The following is a list of surviving works that Mozart composed for performance at gatherings of Masons.
Lied (song) "Gesellenreise," K. 468, "for use at installation of new journeymen", March 1785
Cantata for tenor and male chorus Die Maurerfreude ("The Mason's Joy"), K. 471, premiered 24 April 1785
The Masonic Funeral Music (Maurerische Trauermusik), K. 477/479a, no later than November 1785.
Two songs, K. 483 and K. 484, to celebrate the opening of "Zur Neugekrönten Hoffnung"; 14 January 1786.
Cantata for tenor and piano, Die ihr die unermesslichen Weltalls Schöpfer ehrt, K. 619 (1791)
The Little Masonic Cantata (Kleine Freimaurer-Kantate) entitled Laut verkünde unsre Freude, for soloists, male chorus, and orchestra, K. 623, premiered under the composer's direction 18 November 1791.
The story and music of his opera The Magic Flute is also considered to have strong Masonic influences.
Mozart's grandfather Johann Georg, a bookbinder, was raised among the extended Mozart family in Augsburg, in the house of Johann's own grandfather David Mozart. David and his children were distinguished architects and master operative (craft) masons of the Augsburg guild (as contrasted to speculative freemasons).[15] But close affinities among operative and speculative existed in this period.
References :
Braunbehrens, Volkmar (1990) Mozart in Vienna. New York: Grove and Weidenfeld.
Deutsch, Otto Erich (1965) Mozart: A Documentary Biography. Stanford: Stanford University Press.
Solomon, Maynard (1995) Mozart: A Life. Harper Collins.
Thomson, Katherine (1977) The Masonic Thread in Mozart. London: Lawrence and Wishart. ISBN 853153817
Werner Krenn, Tom Krause,Gerog Fischer (Piano / Organ Accompanist)
The Edinburgh Festival Chorus (Arthur Oldham : Chorus Master )
Istvan Kertesz Conducting The London Symphony Orchestra
Label : Decca, 1969 London Release!
Buy : http://www.classicalvinyl.com/vinyl-records/sxl-6409-complete-masonic-music-mozart.html
Info's : http://en.wikipedia.org/wiki/Mozart_and_Freemasonry
Mozart's lodges :
Mozart was admitted as an apprentice to the Viennese Masonic lodge called "Zur Wohltätigkeit" ("Beneficence") on 14 December 1784.[1] He was promoted to journeyman Mason on 7 January 1785, and became a master Mason "shortly thereafter".Mozart also attended the meetings of another lodge, called "Zur wahren Eintracht" ("True Concord"). According to Otto Erich Deutsch, this lodge was "the largest and most aristocratic in Vienna. ... Mozart, as the best of the musical 'Brothers,' was welcome in all the lodges." It was headed by the naturalist Ignaz von Born.
Mozart's own lodge "Zur Wohltätigkeit" was consolidated with two others in December of 1785, under the Imperial reform of Masonry (the Freimaurerpatent, "Masonic Decree") of 11 December 1785, and thus Mozart came to belong to the lodge called "Zur Neugekrönten Hoffnung" (New Crowned Hope).
At least as far as surviving Masonic documents can tell us, Mozart was well regarded by his fellow Masons. Many of his friends were Masons.
During his visit to Vienna in 1785, Mozart's father Leopold also became a Mason.
Masonic ideology and Masonic music :
Mozart's position within the Masonic movement, according to Maynard Solomon, lay with the rationalist, Enlightenment-inspired membership, as opposed to those members oriented toward mysticism and the occult. This rationalist faction is identified by Katherine Thomson as the Illuminati, a masonically inspired group which was founded by Bavarian professor of canon law Adam Weishaupt, who was also a friend of Mozart. The Illuminati espoused the Enlightenment-inspired, humanist views proposed by the French philosophers Jean-Jacques Rousseau and Denis Diderot. For example,the Illuminati contended that social rank was not coincident with nobility of the spirit, but that people of lowly class could be noble in spirit just as nobly born could be mean-spirited. This view appears in Mozart's operas; for example, in The Marriage of Figaro, an opera based on a play by Pierre Beaumarchais (another Freemason), the lowly-born Figaro is the hero and the Count Almaviva is the boor. However, Masonic scholars themselves,and non-Masonic scholars who have studied the matter more closely strongly dispute both the conflation of Freemasonry with Illuminati elements perse, and especially Mozart as Mason in relation to these elements.
The Freemasons used music in their ceremonies, and adopted Rousseau's humanist views on the meaning of music. "The purpose of music in the {Masonic} ceremonies is to spread good thoughts and unity among the members" so that they may be "united in the idea of innocence and joy," wrote L.F. Lenz in a contemporary edition of Masonic songs. Music should "inculcate feelings of humanity, wisdom and patience, virtue and honesty, loyalty to friends, and finally an understanding of freedom."
These views suggest a musical style quite unlike the style of the Galant, which was dominant at the time. Galant style music was typically melodic with harmonic accompaniment, rather than polyphonic; and the melodic line was often richly ornamented with trills, runs and other virtuosic effects. The style promoted by the Masonic view was much less virtuosic and unornamented. Mozart's style of composition is often referred to as "humanist" and is in accord with this Masonic view of music.
The music of the Freemasons contained musical phrases and forms that held specific semiotic meanings. For example, the Masonic initiation ceremony began with the candidate knocking three times at the door to ask admittance. This is expressed musically as a dotted figure:
List of Mozart's Masonic compositions :
The following is a list of surviving works that Mozart composed for performance at gatherings of Masons.
Lied (song) "Gesellenreise," K. 468, "for use at installation of new journeymen", March 1785
Cantata for tenor and male chorus Die Maurerfreude ("The Mason's Joy"), K. 471, premiered 24 April 1785
The Masonic Funeral Music (Maurerische Trauermusik), K. 477/479a, no later than November 1785.
Two songs, K. 483 and K. 484, to celebrate the opening of "Zur Neugekrönten Hoffnung"; 14 January 1786.
Cantata for tenor and piano, Die ihr die unermesslichen Weltalls Schöpfer ehrt, K. 619 (1791)
The Little Masonic Cantata (Kleine Freimaurer-Kantate) entitled Laut verkünde unsre Freude, for soloists, male chorus, and orchestra, K. 623, premiered under the composer's direction 18 November 1791.
The story and music of his opera The Magic Flute is also considered to have strong Masonic influences.
Mozart's grandfather Johann Georg, a bookbinder, was raised among the extended Mozart family in Augsburg, in the house of Johann's own grandfather David Mozart. David and his children were distinguished architects and master operative (craft) masons of the Augsburg guild (as contrasted to speculative freemasons).[15] But close affinities among operative and speculative existed in this period.
References :
Braunbehrens, Volkmar (1990) Mozart in Vienna. New York: Grove and Weidenfeld.
Deutsch, Otto Erich (1965) Mozart: A Documentary Biography. Stanford: Stanford University Press.
Solomon, Maynard (1995) Mozart: A Life. Harper Collins.
Thomson, Katherine (1977) The Masonic Thread in Mozart. London: Lawrence and Wishart. ISBN 853153817
Τρίτη 10 Μαΐου 2011
I, Don Giovanni (2009) Film by Carlos Saura
A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.
Director: Carlos Saura
Writers: Carlos Saura, Raffaello Uboldi
Stars: Lorenzo Balducci, Lino Guanciale and Emilia Verginell
Link :
http://files.mail.ru/O4RBRF
English Subtitles :
http://www.greeksubtitlesproject.com/get_greek_subtitles.php?id=114119
Info's :
http://www.imdb.com/title/tt0458515/
Trailer :
http://www.youtube.com/watch?v=qOBDRzgK1ZI
W.A.Mozart - Complete Piano Sonatas (D.Barenboim) 5 CD
All Links here :
http://files.mail.ru/YT1A8A
APE (image + cue), Scans | 5 CD | 1,02 Gb
Info's :
http://www.danielbarenboim.com/recordings_a.htm
Buy :
http://www.amazon.com/Mozart-Piano-Sonatas-Wolfgang-Amadeus/dp/B000002SBQ/ref=sr_1_6?ie=UTF8&qid=1305040222&sr=8-6
Thanks to Sforzi,love my Russian friends.
Τετάρτη 2 Μαρτίου 2011
Amadeus (1984) A fictional story
In past a well known film named Amadeus of Milos Forman had a great success everywhere in the world.
This was an impressive movie with great played music from Mozart.
But the main story that Forman is present to us is totally fantastic and has nothing to do with reality.
As we know from the most respectful historians in music, Salieri help a lot Mozart in presenting and choosing his work many times to the people and they even compose a musical work together.
Antonio Salieris work was so important and genius in his time that Mozart not only highly respect him but also influence him in a great extend in his creating his opera structure at his first steps.
Today we see this picture of greatness in Salieris music because we have many good recordings of his work and so we understand why he was so successful.
Portrait of Salieri
by
Joseph Willibrod Mähler.
Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian classical composer, conductor and teacher born in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg Monarchy.
Salieri was a pivotal figure in the development of late 18th century opera. As a student of Florian Leopold Gassmann, and a protege of Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary and his music was a powerful influence on contemporary composers.
Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 to 1792, Salieri dominated Italian language opera in Vienna. During his career he also spent time writing works for opera houses in Venice, Rome, and Paris. His dramatic works were widely performed throughout Europe during his life time. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought after teachers of his generation and his influence was felt in every aspect of Vienna's musical life. Franz Schubert, Ludwig van Beethoven and Franz Liszt were among the most famous of his pupils.
Salieri's music slowly disappeared from the repertoire between 1800 and 1868, and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to his dramatic and highly fictionalized depiction in the play and film Amadeus (1979, 1984) by Peter Shaffer. His music today has regained some modest popularity via recordings. It is also the subject of increasing academic study and a small number of his operas have returned to the stage. In addition there is now a Salieri Opera Festival[1] sponsored by the Fondazione Culturale Antonio Salieri and dedicated to rediscovering his work and those of his contemporaries. It is developing as an annual autumn event in his native town of Legnago where a theater has been re-named in his honor.
http://en.wikipedia.org/wiki/Antonio_Salieri
Πέμπτη 17 Φεβρουαρίου 2011
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