Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.

Die große, weltweite und berechtigte Aufmerksamkeit, die Wolfgang Amadeus Mozarts Don Giovanni innerhalb der Musikhistoriographie zuteil wurde, täuschte lange Zeit darüber hinweg, dass sich die frühste Form seiner Verbreitung und Appropriation im Kleinen vollzog: Im Arrangement. Bis 1850 wurden Arrangements des Don Giovanni im deutschsprachigen Raum in stetig wachsender Auflagezahl und für verschiedenste Kammermusikbesetzungen ohne Worte ediert. Andrea Klitzing recherchierte mehr als 300 Don Giovanni-Arrangements und fasste sie in einer Tabelle zusammen, welche über zahlreiche Links den Zugang zu digitalisierten Notenausgaben und historischen Rezensionen ermöglicht. Das ergänzende Buch „Don Giovanni unter Druck“ widmet sich der systematischen Erfassung, Auswertung und Kontextualisierung dieser Druckausgaben und erscheint voraussichtlich Mai 2020 bei V&R Unipress. / The global and justified attention that Wolfgang Amadeus Mozart's Don Giovanni received in music historiography has long concealed the fact, that the earliest form of its dissemination and appropriation took place on a small scale: the Arrangement. Up until 1850, arrangements of Don Giovanni were edited in the German-speaking countries in ever-increasing numbers and for various chamber music ensembles without words. Andrea Klitzing researched more than 300 Don Giovanni-arrangements and summarized them in a table with numerous links to digitized music prints and historical reviews. The book 'Don Giovanni unter Druck' (“Don Giovanni in press”) is devoted to the systematic recording, evaluation, and contextualization of those print editions. Estimated release, V&R Unipress, May 2020.

Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

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This thesis presents extended program notes for a sixty–minute vocal graduate recital consisting of the following repertoire for soprano: the arias “Soffri, o cor” and “Dimmi qual prova mai” from Alessandro Scarlatti’s cantata Dal Bel Volto d’Irene; a role study of Zerlina from Wolfgang Amadeus Mozart’s opera Don Giovanni, including her arias “Batti, batti, o bel Masetto” and “Vedrai, carino;” Francis Poulenc’s song cycle Cocardes; selections from Arnold Schoenberg’s song cycle Das Buch der Hängenden Gärten; “Der Hirt auf dem Felsen” by Franz Schubert, a chamber work written for soprano, piano, and clarinet; and selections from American composer Ricky Ian Gordon’s song cycle Orpheus and Euridice, composed as a companion piece to the Schubert “Der Hirt auf dem Felsen.” These works span three centuries and cover four languages and multiple genres and musical styles. The content of this thesis contains detailed information on these works through historical study, musical analysis, and research in performance practice.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.