Die Brautwahl Op. 45 K 258
Musical-phantastic Comedy in 3 Acts with a Postlude
[solos,mix ch,orch] solos: MezTTTBarBarB – choir: SATTBB – 3(3picc)3(cor ang).3(B-clar).3(dble bsn) – 4.3.3.1 – timp.perc – hp – cel.org – str | stage music: 1.2.2.2 – 2.2.corn.0.0 - timp.perc(2) – pno – db – low bell
Description
Duration: full evening
Text by the composer basesd on E.T.A. Hoffmann’s tale of the same name from “Serapionsbrüdern”
Translation: ital. (G. Trampus), “La sposa sorteggiata”
Place and time: Berlin, um 1820
Characters: Der Kommissionsrat Voswinkel (baritone) – Albertine, his daughter (mezzo-soprano) – Thusman, Freier (tenor) – Edmund Lehsen, paintor, Freier (tenor) – Baron Bensch, Freier (tenor) – the goldsmith Leonhard (baritone) – the jew Manasse (bass) – the valet Voswinkels – crowd, a Chancre (silent parts)
In Busoni’s musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer’s compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was “invention in every bar”, and assigned an important role to the use of music from “other sources”: the Hebrew march from Rossini’s “Mosè”, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann’s “serapiontic” principle and came closer to his idea of a timeless “world music” without borders.
EB 9432
piano vocal score
EAN: 9790004189092
MM 2008802
hire material
Description
Description
Duration: full evening
Text by the composer basesd on E.T.A. Hoffmann’s tale of the same name from “Serapionsbrüdern”
Translation: ital. (G. Trampus), “La sposa sorteggiata”
Place and time: Berlin, um 1820
Characters: Der Kommissionsrat Voswinkel (baritone) – Albertine, his daughter (mezzo-soprano) – Thusman, Freier (tenor) – Edmund Lehsen, paintor, Freier (tenor) – Baron Bensch, Freier (tenor) – the goldsmith Leonhard (baritone) – the jew Manasse (bass) – the valet Voswinkels – crowd, a Chancre (silent parts)
In Busoni’s musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer’s compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was “invention in every bar”, and assigned an important role to the use of music from “other sources”: the Hebrew march from Rossini’s “Mosè”, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann’s “serapiontic” principle and came closer to his idea of a timeless “world music” without borders.
Table of contents
| 1. | So! Das war der Letzte! (Voswinkel) | (First Act, First Part, Scene 1) |
| 2. | Song: Ja, Natur, Gespräch und Tabaksblatt (Voswinkel) | (First Act, First Part, Scene 1) |
| 3. | Meine Tochter Albertine (Voswinkel) | (First Act, First Part, Scene 2) |
| 4. | Duet Song: Flüstern, Rauschen, Klingen (Albertine) | (First Act, First Part, Scene 2) |
| 5. | Da geht er hin, der Kopf von Liebestorheit (Leonhard) | (First Act, First Part, Scene 3) |
| 6. | Konnt' ich mich so verspäten? (Thusman) | (First Act, First Part, Scene 4) |
| 7. | Orchestra Interlude Manasse | (First Act, Second Part) |
| 8. | Seh' ich Euch wieder nach langen Jahren?! (Leonhard) | (First Act, Second Part, Scene 5) |
| 9. | Gruesome Tale of the Jewish Coiner Lippold: Da Ihr Euch gern mit den alten Historien befasset (Leonhard) | (First Act, Second Part, Scene 5) |
| 10. | Finale: Ihr wollt das schöne blutjunge Mädel (Leonhard) | (First Act, Second Part, Scene 5) |
| 11. | Prelude. Spook and Whirl Waltz | (Second Act, First Part) |
| 12. | Ein gutes Bild, ein Kunstwerk! (Voswinkel) | (Second Act, First Part, Scene 6) |
| 13. | Geheimer, Du! zur ungewohnten Stunde! (Voswinkel) | (Second Act, First Part, Scene 7) |
| 14. | The Unlikely Disclosures of Privy Council Secretary Thusman. Waltz, March, and March: Auf dem geregelten Heimweg (Thusman) | (Second Act, First Part, Scene 7) |
| 15. | Herr des Himmels! s'ist der Jude (Thusman) | (Second Act, First Part, Scene 8) |
| 16. | Ein Flüstern, Rauschen, Singen (Albertine) | (Second Act, Second Part, Scene 9) |
| 17. | Aber, aber, aber, aber Demoiselle Albertine (Thusman) | (Second Act, Second Part, Scene 10) |
| 18. | Geheimer! Schulgenosse! (Voswinkel) | (Second Act, Second Part, Scene 11) |
| 19. | In Uno: Nie und nimmer werd' ich die Seine (Albertine) | (Second Act, Second Part, Scene 11) |
| 20. | Halt, Edmund, halt! (Leonhard) | (Second Act, Second Part, Scene 12) |
| 21. | Hä, hä, hä! Hä, bestes Mädchen (Bensch) | (Second Act, Second Part, Scene 13) |
| 22. | Prelude | (Third Act, First Part) |
| 23. | Oh, du unglücklicher, bedauernswürdiger Thusman (Thusman) | (Third Act, First Part, Scene 14) |
| 24. | Thusman, was habt Ihr vor! (Leonhard) | (Third Act, First Part, Scene 15) |
| 25. | Prelude | (Third Act, Second Part) |
| 26. | Wär' kaum zu wundern, wenn mir die Galle (Voswinkel) | (Third Act, Second Part, Scene 16) |
| 27. | The First Danger | (;Third Act, Second Part, Scene 16; ;Import aus Testumgebung 20250206;) |
| 28. | The Second Danger | (;Third Act, Second Part, Scene 16; ;Import aus Testumgebung 20250206;) |
| 29. | The Third Danger | (;Third Act, Second Part, Scene 16; ;Import aus Testumgebung 20250206;) |
| 30. | Was mußt' ich hören! Mein Lebensglück (Albertine) | (Third Act, Second Part, Scene 17) |
| 31. | Laß ab von solch' Betrübnis, liebes Mädchen (Leonhard) | (Third Act, Second Part, Scene 18) |
| 32. | Ich eile auf Amors Flügel her (Thusman) | (Postlude, Scene 19) |
| 33. | Sie kommt! Wie ist sie schön! (Edmund, Thusman, Bensch) | (Postlude, Scene 20) |
| 34. | Scherzo a quattro: Alles hat sich wohl gefügt (Voswinkel) | (Postlude, Scene 20) |