Per questa bella mano KV 612 de Mozart: a redescoberta do manuscrito de uma ária de concerto para voz, contrabaixo obligato e orquestra e a reabilitação de uma prática de peformance “de afinação equivocada”

Tobias  Glöckler; Fausto Borém; Larissa  Cerqueira

Authors

Tobias Glöckler Dresden Philharmonic (Germany)
Fausto Borém University of Minas Gerais (Brazil) https://orcid.org/0000-0002-4769-106X
Larissa Cerqueira University of Minas Gerais (Brazil) https://orcid.org/0000-0003-0474-2602

Keywords:

W. A. Mozart, Per questa bella mano, Double bass, Violone, Johannes Sperger, Adolph Müller

Abstract

Historical survey of W. A. Mozart ́s aria Per questa bella mano KV 612 from its composition in 1791 through the rediscovery of its original in 1979 to its most recent edition in 1996 by Tobias Glöckler. Analysis of the double bass performance and notation practices in the classical period, focusing on the third-fourth tuning of the Vienese violone. It also presents new additions to the voice and double bass repertory: the first editions of Johannes Sperger ́s Selene, del tuo fuoco non mi parlarand Adolph Müller ́sLied an den Kontrabassand the translations of the original German and Italian lyrics of the three pieces into Portuguese.

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Author Biographies

Tobias Glöckler, Dresden Philharmonic (Germany)

Tobias Glöckler is solo double bassist with the Dresden Philharmonic. He has presented works at several world congresses of the International Society of Bassists and European double bass congresses. Music editor of Friedrich Hofmeister, he has published the works listed in Appendix I and recorded CDArien mit obligaten Kontrabass(Dresden, Germany: White House Records, 1998) which includes the Mozart, Sperger and Müller arias discussed in this article.

Fausto Borém, University of Minas Gerais (Brazil)

Fausto Borém (Belo Horizonte, Brazil, 1960) is Professor of Double Bass, Chamber Music, Music Research and Performance Practices at UFMG, where he created the Master in Music and the Per Musi Magazine. A CNPq researcher since 1994, he holds a PhD in double bass from the University of Georgia and an M.A. in double bass from the University of Iowa, USA. He organized the I National Seminar on Research in Music Performance (1999), the Fourth International Double Bassists Meeting (1996), the Second National Double Bass Composition Contest (1996) and the First National Double Bassists Contest (2002). He has represented Brazil in major national and international double bass events (USA in 1993, 1995, 1997, 1999 and 2001, France in 1994, Scotland in 1998). He has presented papers at the International Society of Bassists Convention, SBPC, International Double Bass Meetings, ANPPOM National Meetings, GAMUT Annual Meeting - Georgia Association of Music Theory. He has published dozens of articles in important national and international journals in the areas of performance, analysis and historical musicology (see Curriculum Lattes at the CNPq website). Award-winning soloist several times in Brazil and abroad, he is the bass player of Trio Novarte and Geraes Jazz 'round. His work Uma Didática da Invenção was awarded 3rd place in the III National Contest of Composition for Double Bass (UFG, 2000). He has coordinated twice the Visiting Artist Project at UFMG with the UAKTI Workshop (1996) and the Workshop of Double Bass Guitar Making for Children (2002).

Larissa Cerqueira, University of Minas Gerais (Brazil)

She defended his dissertation entitled "Modernity and the Modernists: the face of the city in poetry" to earn a master's degree in Theory of Literature, in the Research Line Literature, History and Cultural Memory. She holds a degree in English from the Federal University of Minas Gerais (2002) and a degree in German from the Federal University of Minas Gerais (1999). She holds a specialization in German studies from Albert-Ludwig Universität Freibrug (2004), a course financed with a scholarship granted by the German Academic Exchange Service, DAAD. He is a member of the Walter Benjamin Center at FALE/UFMG. He has experience in the field of Literature, with emphasis on Literary Theory.

References

ALTMANN, Wolfgang. Mozarts Arie mit obligatem Kontrabass [Ária de Mozart com contrabaixo obligato]. Der Kontrabass [O Contrabaixo], n.3, Leipzig, 1929.

DAUTHAGE, Max. Zum Geleite [Prefácio], Mitteilungsblatt des Kontrabassisten-Bundes [Ata da União dos contrabaixistas]. Der Kontrabass [O Contrabaixo], v.1, Leipzig, 1929.

______. Zum Geleite [Prefácio] (Suplemento do v.1). Der Kontrabass [O Contrabaixo],, v.3. Leipzig, 1929.

______ Über die Spielbarkeit einer Komposition von Mozart [Sobre a performance de uma composição de Mozart]: Oesterreichische Musiker-Zeitung [Jornal Austríaco de Música], n.6, 1922.

FOCHT, Josef. Der Wiener Kontrabass: Spieltechnik und Aufführungspraxis [O Contrabaixo vienense: técnica e práticas de performance]. Musik und Instrumente. Tutzing: Hans Schneider, 1999.

GLÖCKLER, Tobias. Aria with obligato double bass by Mozart, Sperger and Müller . The Edinburgh International Double Bass Festival ́98. The University of Edinburgh, ago, 1998 (folheto).

KÖCHEL. Ludwig Ritter von.Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke W. A. Mozarts [Índice temático-cronológico de todas as obras de W.A. Mozart]. Wiesbaden: Breitkopf & Härtel, 1964.

KÖHLER, Karl-Heinz. Prefácio da edição facsímile deZauberflöte [A Flauta Mágica]. Leipzig: Deutscher Verlag für Musik, 1979.

KUNZE, Stefan. Neue Mozart-Ausgabe: Bericht über Mitarbeitertagung in Kassel. 29-30 Mai 1981, Privatdruck (nicht im Buch- und Musikalienhandel erschienen [Anais da convenção dos editores da NMA em Kassel, 29-30 de maio, 1981]. Kassel: 1984. (edição não comercial).

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LEWIS, Nigel. Paperchase: Mozart, Beethoven , Bach. . . the search for their lost music.Londres: Hamish Hamilton, 1981.

MEIER, Adolf. Konzertante Musik in der Wiener Klassik. Munique: Musikverlag Emil Katzbichler, 1969.

MORTON; Mark. The Latest score. Per questa bella mano, KV612. Bass World, The Journal of the International Society of Bassists. Dallas, EUA. v.21, n.2, 1996. p.52-54.

MOZART, W. A. Per questa bella mano. Transcrição para piano, voz e contrabaixo ad libitum, ed. G.F. Ghedini. New York: International, 1952.

______. Per questa bella mano. Partes de voz, contrabaixo e orquestra (FH 8140), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1999.

______. Per questa bella mano. Partes de voz, contrabaixo e piano (FH 2356), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1996.

______. Per questa bella mano K.612. In: Neue Mozart-Ausgabe. Ed. Stefan Kunze. Série II, Werkgruppe 7, v.4. Kassel: NMA, 1972.

______. Per questa bella mano K.612. Partitura (n.4350). Offenbach am Main, Alemanha: Johann André, 1822?.

______. Per questa bella mano K.612. Partes de voz, contrabaixo ou violoncelo e piano (n.7196). Offenbach am Main, Alemanha: Johann André, [s.d.].

______. Verzeichnis aller meiner Werke [Índice de todas as minhas obras]. Viena: E.H. Mueller v. Asow , 1965.

MÜLLER, Adolph. Lied an den Contrabass . Partes de voz, contrabaixo e piano (FH 2530), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1997.

______. Lied an den Contrabass. Partitura (FH 8114), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1997.

PLANYAVSKY, Alfred. Geschichte des Kontrabasses[História do Contrabaixo]. Tutzing: Hans Schneider, 1984.

______. Mozarts Arie mit obligatem Kontrabass [Ária de Mozart com contrabaixo obligato] In: Mozart-Jahrbuch 1971/72 [Mozart-Anuário, 1971-1972]. Salzburgo: 1973.

POHL, Carl Ferdinand.Joseph Haydn. v.2. Leipzig: Breitkopf & Härtel 1882.

RIEMANN MUSIKLEXIKON. Sachteil [Índice de termos musicais], Biblioteken-Berlin [Biblioteca-Berlim]. Mainz: B. Schott ́s Svhne, 1967.

SPERGER, Johannes. Selene, del tuo fuoco non mi parlar. Partes de voz, contrabaixo e piano (FH 2400), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1996.

______. Selene, del tuo fuoco non mi parlar. Partitura (FH 8109), ed. Tobias Glöckler. Leipzig: F. Hofmeister, 1996.

Per questa bella mano KV 612 de Mozart

the rediscovery of a manuscript of an aria for soprano and double bass obligato and the rehabilitation of a”wrong tuning” performance practice

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Author Biographies

Tobias Glöckler, Dresden Philharmonic (Germany)

Fausto Borém, University of Minas Gerais (Brazil)

Larissa Cerqueira, University of Minas Gerais (Brazil)

References

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