651:'s words, as "one of the most absurd specimens of that form of literature in which absurdity is regarded as matter of course." With occasional exceptions, critics voice harsh views on the quality of Schikaneder's German versification as well. Such critics generally do not defend it on its own terms (as if it could stand independently as a work of theater), but rather as a vehicle that served as a great inspiration for Mozart for composition, particularly in its assertion of high ideals and the portrayal of selfless love in the characters of Pamina and Tamino. The harsh assessment is not universal; see for instance the quotation with which this article begins.
549:
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186:"Die klugen Knaben" ("The clever boys") is perhaps the model for the Three Boys. They give wise advice to characters in the story, including a somewhat more verbose version of Schikaneder's "Sei standhaft, duldsam, und verschwiegen" ("Be steadfast, resolute, and discreet"). They also descend from the skies "on a white shining cloud to prevent a tragic outcome", perhaps the model for the Three Boys' interventions to prevent the intended suicides of Pamina and Papageno.
254:
105:(c. 1177). This work attracted attention in Mozart and Schikaneder's time and appeared in a 1786–7 German translation by K. J. Michaeler, a member of the same Masonic lodge as Mozart. Yvain offers the following possible models: an imperiled hero in a desolate countryside, carrying a bow and rendered unconscious, is rescued by three ladies, who bring him to a high-born mistress who is in need of a hero's services. In another scene of
79:
20:
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assume that
Masonry provided a system of values, symbolism, and ritual for the opera, but no part of the narrative. More elaborate accounts suggest that the opera was intended as an allegory with a hidden Masonic agenda. For instance, the evil Queen of the Night is sometimes taken to be an emblem for
556:
The action then shifts to drama and dialogue: the Three Boys find Pamina in despair in the belief that Tamino has abandoned her, and she nearly commits suicide. The Three Boys succeed in dissuading her, explaining that Tamino truly loves her and indeed is willing to risk death for her. Pamina, once
410:
specifically, Rosen writes that it "develops ... a conception of music as a vehicle for simple moral truths." The opera's didacticism is concentrated in passages of poetry, set in the ensemble scenes, in which the characters cease to converse with each other and join in singing an edifying lesson to
340:
The physical comedy that was an element of
Viennese popular theater is called for directly at one point in the libretto. The opening eight bars of orchestral introduction to the duet "Pa pa pa", at the moment when Papagena is revealed to Papageno as his future wife, includes the stage direction that
319:
Viennese popular theater in this tradition often included improvisation, and there is evidence that
Schikaneder may have improvised some of his part when he premiered the role of Papageno. For instance, when Mozart played a practical joke on him during his performance of "Ein Mädchen oder Weibchen",
298:
has expressed a contrarian view, suggesting that
Masonic interpretations have been oversold. His key point is that careful study of some of the other possible sources, such as those mentioned above, provides alternative origins for elements of the libretto thought to be Masonic. Buch is particularly
126:
in 1777–8. Branscombe sees this a possible source for the serpent that appears in the opening scene, for the trials of water and fire, for the words sung by the Two Armed Men, and for the text of
Sarastro's hymn "O Isis und Osiris." The connection is sufficiently close that Branscombe even suggests
405:
Nedbal writes, "Moral maxims appear frequently in eighteenth-century German drama and contemporary German theorists of theater often discuss them in their treatises. The main function of maxims is to draw a generalized observation from the proceedings on stage in order to promote virtue or condemn
601:
is sententious, and the music often assumes a squareness rare in Mozart, along with a narrowness of range and an emphasis on a few notes very close together that beautifully illuminate the middle-class philosophy of the text." As an example Rosen cites the music for the passage beginning "Könnte
56:
Schikaneder, a kind of literary magpie, filched characters, scenes, incidents, and situations from others' plays and novels and with Mozart's assistance organized them into a libretto that ranges all the way from buffoonery to high solemnity, from childish faerie to sublime human aspiration – in
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character was a mainstay of the popular theater tradition in Vienna, dating back decades before 1791. This character is earthy, wily, and charming, and
Papageno survives in modern times as the best known representative of his type. During the period that the Schikaneder troupe was successfully
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The passage quoted above beginning "Zwei Herzen" has attracted particular admiration: Heartz called it "the loveliest of all the opera's beautiful moments"; Abert wrote of "a paradisal radiance unique in this work". Liszt quoted
Schikaneder's verse in his letter and appended, "Amen!".
336:. He was startled, looked into the wings and saw me. When he had his next pause I played no arpeggio. This time he stopped and refused to go on. I guessed what he was thinking and again played a chord. He then struck the magic bells and said, "Shut up!" This made everyone laugh.
183:": a hero falls in love with a woman merely by seeing her portrait and sets off to rescue her. As Branscombe notes, this situation is common enough in literature, but "Neangir" contains many of the actual words used in the text Schikaneder wrote for this aria.
164:
in 1786 to 1789 contains a total of 19 fairy tales. Some of these are retold stories, others were made up by
Wieland or by his collaborator J. A. Liebeskind. Various of these stories – which were being separately published in Vienna at the time
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One example is found in the first act, just after
Monostatos and his slaves dance peaceably off the stage, enchanted by Papageno's magic bells and leaving Pamina and Papageno in freedom. The two celebrate their escape by singing the following.
142:
in 1784. This work describes among other things the worship of Isis and Osiris, the gods to whom
Sarastro and his priests pray. It also is a possible source for the passages of overt misogyny that often perturb modern readers of Schikaneder's
109:(which Owen and Branscombe suggest Schikaneder conflated with the first), the hero encounters a sort of wild man in dress so outlandish that he doubts his humanity; like Papageno, this wild man must assure the hero that he is human.
316:("The Foolish Gardener from the Mountains, or The Two Antons"), premiered in July 1789, and a series of five sequels. Mozart himself enjoyed attending these comedies, as a letter to his wife Constanze attests.
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in 1769, just a few years after it was unearthed and when Mozart was himself just 13 years old. His visit and the memories of the site are considered to have inspired him 20 years later in his composition of
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plays a major role in the content of Schikaneder's libretto. Mozart was an active Mason in Vienna, and wrote a substantial quantity of music for his own lodge, including in 1791 (see
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but it didn't please me as much as the Antons." (“gestern war ich in dem zweÿten theil von der Cosa rara — gefällt mir aber nicht so gut wie die Antons.”). See W. A. Mozart.
418:"Schnelle FĂĽĂźe, rascher Mut", the scene with the magic bells: Pamina, Papageno, and Monostatos among his three slaves. From a production at Texas A&M University-Commerce
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of the opera gave special treatment to the didactic poetry by having his characters hoist "a series of placards on which these moral sentiments are carefully lettered."
299:
skeptical of allegorical Masonic interpretations, since libretti with such hidden agendas do not appear to have been commonly created in Mozart and Schickaneder's day.
959:
Duncan (2004:239), part of an extended analysis and appreciation of Bergman's filmed version. See Nedbal (2009) for a much less sympathetic view of Bergman's placards.
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had developed considerable experience with performing fairy tale operas with similar plots, characters, and singers. Two bear a particularly strong relationship to
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189:"Lulu, oder die Zauberflöte" ("Lulu, or the Magic Flute"). Branscombe takes the view that this story provided little more than the title of the opera.
176:"Adis und Dahy" contains a model for the character Monostatos; he is a black slave who watches over the heroine and is later punished by his master.
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mounting fairy tale operas, it also produced a series of musical comedies featuring Schikaneder in a Hanswurst-like role. These consisted of
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The sources for the work fall into (at least) four categories: works of literature, earlier productions of Schikaneder's theater company,
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The long essay "Ăśber die Mysterien der Ă„gypter" ("On the mysteries of the Egyptians"), published by the Vienna scientist and Freemason
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convinced, ardently sings "Ich möcht' ihn sehen" ("I want to see him") five times; then after a brief pause the four characters sing:
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carefully for the hints it provides concerning what Mozart and Schikaneder would have wanted in terms of production and stage design.
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at which the opera premiered in the same year. (He also played the role of Papageno). Grout and Williams describe the libretto thus:
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Schikaneder quickly went off-script and turned the joke to his own advantage. Mozart related the story in a letter to his wife:
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1013:. Revised 2007 edition, translated by Stewart Spencer and with commentary by Cliff Eisen. New Haven: Yale University Press.
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Mainstream scholarship views Schikaneder as the highly probable author. For a marginally-supported alternative candidate, see
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vice." Cairns attributes a taste for "didactic sentiment" specifically to the Viennese popular theater. Concerning
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1057:. Berkeley and Los Angeles: University of California Press. Quoted material accessible on line at Google Books:
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396:, premiered in Vienna in 1774. Between 1773 and 1780, Mozart wrote incidental music, K. 345/336a, for this work.
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820:, ed. Wilhelm A. Bauer, Otto Erich Deutsch and Joseph Heinz Eibl, 7 vols. (Kassel, 1962–75), IV, 110 (No. 1129)
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short from the circus to the temple, but never neglecting an opportunity for effective theater along the way.
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See Nedbal (2009:125), who uses this fact as a caution to those who would interpret the didactic passages of
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Rosen suggests that not just the words of these passages, but even the music is didactic: "The morality of
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The experiences and background of the composer, who liked to have considerable input into the libretto (see
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The second act finale begins with a scene framed by didactic poetry. First the Three Boys enter, singing:
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Yvain, portrayed in a 15th-century French manuscript. Unlike Tamino, he vanquishes his menacing reptile.
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776:(1972). A review sharply attacking the quality of scholarship in Chailley's book is "P. J. B." (1972).
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552:"Halt ein!": the Three Boys restrain Pamina. From a production at Texas A&M University-Commerce
179:"Neangir und seine BrĂĽder" ("Neangir and his brothers") provides a model for Tamino's famous aria "
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Quoted from the English translation of Heartz (1990:267), who also provides the original German.
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as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in
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myself I went on stage. Just for fun, at the point where Schikaneder has a pause, I played an
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It remains a near-consensus that the opera is in a sense Masonic. However, the Mozart scholar
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A Masonic lodge meeting of Mozart's day, once thought to portray Mozart's own lodge; see
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1109:. New York: W. W. Norton. The quoted passage may be viewed on line at Google Books:
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947:, Volume 4, Breitkopf & Härtel, 1900, p. 380. Viewable on line at Google Books:
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701:. New York: Columbia University Press. Page 327. Extracts on line at Google Books:
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German "beide haben unter dem Ritornell komisches Spiel". The page on the online
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1805 portrait of Christoph Martin Wieland by Ferdinand Carl Christian Jagemann
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The didactic passages in Schikaneder's libretto attracted the admiration of
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that modern directors attempting a new production should consult
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Duncan, Dean (2004) Adaptation, enactment, and Ingmar Bergman's
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Bauman, Thomas (1990) "At the north gate: instrumental music in
241:, premiered 1790. This, too, was based on a source in Wieland's
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70:, and the 18th-century tradition of popular theater in Vienna.
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See Abert (1920/2007:1290), who discusses the scene in detail.
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was being written – are held to have influenced Schikaneder's
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admired the work sufficiently to undertake writing a sequel.
857:, Matheus Franciscus & Maria Berk, p. 450, Brill, 2004,
994:. Berkeley and Los Angeles: University of California Press.
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It is not uncommon for critics to describe the libretto of
279:(1786–7) for a few months before his lodge suspended him.
233:. Its source is a verse epic of the same title by Wieland.
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D. D. Roy Owen and Branscombe, in Branscombe (1991:7–10)
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Der Dumme Gärtner aus dem Gebirge, oder Die zween Antons
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notes strong resemblances between the opening scenes of
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Nedbal, Martin (2009) Mozart as a Viennese moralist:
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112:A major source appears to have been the 1731 novel
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16:Opera composed in 1791 by Wolfgang Amadeus Mozart
1350:Introduction and Variations on a Theme by Mozart
1075:Mozart and his Circle: A Biographical Dictionary
697:Donald Grout and Hermine Weigel Williams (2003)
200:The Schikaneder troupe prior to the premiere of
122:. The work appeared in a German translation by
1136:"P. J. B. " (1972) Review of Chailley (1972).
1131:The Classical Style: Haydn, Mozart, Beethoven
538:Then the Earth will become a heavenly kingdom,
341:Papageno and Papagena "both engage during the
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282:The simpler accounts of Masonic influence in
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1107:Mozart, Haydn and Early Beethoven, 1781–1802
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23:Schikaneder playing the role of Papageno in
531:And the wise man will soon win the victory.
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138:in the first issue of the Masonic journal
36:is a celebrated opera composed in 1791 by
1040:, masonic opera, and other fairy tales".
1023:. Cambridge: Cambridge University Press.
812:"Yesterday I attended the second part of
585:Can never be separated by human weakness.
569:Kann Menschenohnmacht niemals trennen,
527:The sun will gleam along its golden path,
238:Der Stein der Weisen oder Die Zauberinsel
225:, premiered in a plagiarized version by
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1232:Der Hölle Rache kocht in meinem Herzen
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677:. A libretto Schikaneder prepared for
500:Bald prangt, den Morgen zu verkĂĽnden,
95:and episodes of the medieval romance
7:
927:edition the scene begins on p. 267:
567:Zwei Herzen, die von Liebe brennen,
363:Mozart is known to have visited the
1077:. New Haven: Yale University Press.
943:, 23 July 1857. See La Mara (ed.)
669:. Sources for another Mozart opera.
573:Die Götter selbsten schützen sie,
536:Return to the hearts of the people,
515:Und sterbliche sind Göttern gleich.
513:Dann ist die Erd' ein Himmelreich,
511:Kehr in der Menschen Herzen wieder;
504:Bald soll der Aberglaube schwinden,
359:for testimony), are also relevant.
275:). Schikaneder had been a Mason in
265:A very long tradition asserts that
156:The series of three books entitled
589:The gods themselves protect them.
392:, with themes similar to those in
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1225:Dies Bildnis ist bezaubernd schön
534:O gracious peace, descend hither,
229:, later the first First Slave in
181:Dies Bildnis ist bezaubernd schön
1218:O zittre nicht, mein lieber Sohn
602:jeder brave Mann", cited above.
482:There is no happiness on earth.
447:Nur der Freundschaft Harmonie
1088:43:229–250. Available on line:
1044:76:193–219. Available on line:
571:Verloren ist der Feinde MĂĽh,
529:Soon, superstition will vanish,
509:O, holde Ruhe, steig hernieder,
471:And he would live without them
356:The Abduction from the Seraglio
44:written by his close colleague
1068:The Magic Flute, Masonic Opera
583:Two hearts that burn with love
196:Earlier theatrical productions
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1021:W. A. Mozart: Die Zauberflöte
941:Carolyne zu Sayn-Wittgenstein
587:The enemy's efforts are lost;
87:In work with D. D. Roy Owen,
27:. Engraving by Ignaz Alberti.
525:Soon, to herald the morning,
502:Die Sonn' auf goldner Bahn –
990:. In Heartz, Daniel (1990)
540:And mortals like the gods.
449:Mildert die Beschwerden,
444:In der besten Harmonie,
437:Seine Feinde wĂĽrden dann
435:Solche Glöckchen finden,
433:Könnte jeder brave Mann
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653:Johann Wolfgang von Goethe
506:Bald siegt der weise Mann!
476:Only friendship's harmony
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818:Briefe und Aufzeichnungen
462:Could but every brave man
442:Und er lebte ohne sie
383:Tobias Philipp von Gebler
365:Temple of Isis at Pompeii
1156:The text of the libretto
699:A Short History of Opera
478:Can make burdens easier,
453:Ist kein GlĂĽck auf Erden
451:Ohne diese Sympathie
303:Viennese popular theater
223:Friederike Sophie Seyler
162:Christoph Martin Wieland
1192:Wolfgang Amadeus Mozart
877:as intended ironically.
785:Branscombe (1991:43–44)
730:Branscombe (1991:21–25)
721:Branscombe (1991:10–18)
468:effortlessly disappear;
38:Wolfgang Amadeus Mozart
1345:Mozart and Freemasonry
1105:Heartz, Daniel (2009)
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140:Journal fĂĽr Freymaurer
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50:Theater auf der Wieden
48:, the director of the
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1133:. New York: Norton.
1055:Mozart and His Operas
772:A major reference is
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480:Without this sympathy
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378:Thamos, King of Egypt
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118:by the French author
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1073:Clive, Peter (1993)
945:Franz Liszt's briefe
763:Branscombe (1991:28)
751:Branscombe (1991:27)
742:Branscombe (1991:26)
679:Ludwig van Beethoven
632:Karl Ludwig Giesecke
473:In the best harmony.
439:Ohne MĂĽhe schwinden;
227:Karl Ludwig Giesecke
40:. Mozart employed a
1284:Magic Flute Diaries
1139:Music & Letters
939:Letter to Princess
349:Mozart's background
324:Today I had such a
46:Emanuel Schikaneder
1337:Works inspired by
886:Cairns (2006, 202)
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466:His enemies would
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103:Chrétien de Troyes
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1121:Acta Musicologica
1119:and its maxims.
1064:Chailley, Jacques
1042:Acta Musicologica
1017:Branscombe, Peter
968:Heartz (2009:283)
803:Clive (1993, 136)
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814:Una Cosa Rara
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1329:Libretto of
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1011:W. A. Mozart
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1009:(1920/2007)
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613:in his 1975
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330:Glockenspiel
328:to play the
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1212:Discography
1123:81:123–157.
1086:BYU Studies
1082:Magic Flute
842:edition is
794:Buch (2004)
607:Franz Liszt
386: [
267:Freemasonry
249:Freemasonry
171:Magic Flute
68:Freemasonry
1365:Categories
1001:References
639:Assessment
625:Authorship
343:ritornello
277:Regensburg
173:libretto.
1314:(musical)
375:The play
309:Hanswurst
219:Singspiel
143:libretto.
1036:(2004) "
912:score:
774:Chailley
659:See also
334:arpeggio
42:libretto
1322:Related
1129:(1997)
1096:(1990)
1066:(1972)
1053:(2006)
1019:(1991)
923:In the
62:Sources
1295:(2022)
1287:(2008)
1279:(2006)
1271:(1975)
1242:Sequel
1027:
861:
214:Oberon
129:Sethos
1260:Films
1205:Music
686:Notes
390:]
107:Yvain
98:Yvain
1025:ISBN
859:ISBN
649:Dent
615:film
307:The
1194:'s
925:NMA
909:NMA
840:NMA
381:by
326:yen
101:by
1367::
1084:.
891:^
756:^
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388:de
208::
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1184:e
1177:t
1170:v
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950:/
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681:.
372:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
