Martha or Die Mischmonder Markt-Mägde-Miethung
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| Title: | Martha or Die Mischmonder Markt-Mägde-Miethung |
| Genus: | parodying farce with singing in 3 acts |
| Original language: | German |
| Author: | Johann Nepomuk Nestroy |
| Literary source: | " Martha or The Market in Richmond " by Friedrich von Flotow |
| Music: | Michael Hebenstreit |
| Publishing year: | 1848 |
| Premiere: | January 25, 1848 |
| Place of premiere: | Carltheater Vienna |
| Place and time of the action: | The action takes place partly in a villa of Henrietta, partly in the market town of Mischmond and its surroundings |
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Martha or Die Mischmonder Markt-Mägde-Miethung is a parodying farce with singing in 3 acts by Johann Nestroy . The play was premiered anonymously on January 25, 1848 in Vienna's Carltheater and parodies the opera Martha or Der Markt zu Richmond by Friedrich von Flotow .
content
The rich heiress Henriette complains to her confidante nanny that she is bored of her life and also of her admirers, above all Wuklfort. Nanny thinks that only real love can save her from it. When the two ladies find out about the Mischmond fair and its attraction, the new hiring of maids, they decide to go in disguise. The horrified Wuklfort, who is supposed to accompany them as tenant Veit, wants to talk them out of this:
- “Heaven - gracious - consideration, societé, country folk, scandal - everything dances around in my head. Taste too bedencken as so not civil standard - " (I Act, 4 th Scene)
Plumpsack and his foster brother Leinöhl talk about the mysterious origins of the latter, who presumably had a high-ranking father. When Plumpsack asks him to be a little more diligent about the farm work, Leinöhl fends off:
- "Never! Labor would increase our prosperity, from prosperity wealth would arise. from the wealth incur höh're wishes of the wishes of discontent - no you verlo [c] do not kst, I stay bey my stillbescheid'nen did loose Wirckungskreis ". (I. Act, 6 th Scene)
At the fair, the haggling over the new service contracts is underway. When a farmer wants to know how this custom came about, Leinöhl "explains" to him:
- "It is therefore arose because there is an old custom, and from this ancient custom, the mixing Monder Marktmägdemiethung writes here." (I. Act, 8 th Scene)
When Henriette and Nanny arrive, disguised as maids, the two friends immediately notice them with goodwill. Henriette as Martha from the forest is particularly popular with Leinöhl, and Nanny as the Bohemian Aniczka catches Plumpsack's eye. Wuklfort cannot prevent them from accepting the bonus money and thus committing to a six-month service. Plumpsack and Leinöhl immediately take them to the farm, where Plumpsack's mother Margret gets angry because of her stubbornness. Henriette angrily breaks Leinöhl's pipe, whereupon he complains:
- "And deßtwegen me breakest my Silberb'schlagenen-frischwachsei [n] left-spiegelmassameerfamenen head ?!" (II. Act 3 te Scene)
When the four young people get into an argument because the alleged maids are resisting intrusiveness from the men, Margret locks her sons in a room. The rushing Wuklfort helps the two ladies to escape through a window. The attempt by the other servants to recapture them fails.
Henriette arranged a ride near the lease because she always has to think about Leinöhl. Nanny, who happens to be a heavy sack, discovers whom he recognizes as Aniczka and tries to force her to his farm, but the ladies of the riding company who join him drive him away with their riding crops. Leinöhl also recognizes Henriette, whom he could not forget. Henriette denies to be Martha, but through Wuklforts and Nannys intervening, Leinöhl finally realizes that he had been fooled.
- "Ha, the Bohemian -? and she says 'Your Grace' -!? - that general masquerade it was - a Arranged Forest amusement, a Summery Faschingsjux !? " (III Act, the 10th th Scene)
Angry, he reveals his contempt to Henriette, who is becoming more and more embarrassed, and doesn't want to know anything more about her. A mysterious letter reveals that he is in fact the son of a bankrupt, but now rehabilitated banker from the East, whose inheritance he can now take over. Meanwhile, Nanny and Plumpsack make up, but Nanny makes it clear who will be in charge in the future:
- “Because S 'say' Aniczka ', now I'm Bohemian again, (pointing behind the ears) I've got it. "- (III Act, 14th te Scene)
Since Leinöhl still rejects all of Henriette's offers, she organizes a replica fair in front of the lease, where she and Nanny appear in their maid costumes. Now he is defeated and sinks at her feet:
- "Oh, let's me vergeh'n in Wonneersterbungshinsinkung!" (III. Act, 21 st Scene)
Factory history
Flotow's opera Martha was opened on November 25, 1847 in the Vienna k.k. Court theater premiered. It was enthusiastically received, and the contemporary reviews were mostly positive, especially the "Martha", Dem. Anna Zerr was praised. Both Johann Strauss (father) and Johann Strauss (son) each composed a “Martha Quadrille”.
In the same year Nestroy wrote his parody, which premiered on January 25, 1848 in the Carltheater. This proves the time pressure the poet was under, namely, of the two months there were actually only six weeks left for editing, if you deduct the procurement of the text, censorship and stage rehearsals. Nestroy is nowhere directly named as a poet, but the fair copy and the numerous preliminary works in his handwriting clearly indicate him.
This work has kept the plot of the opera and the scenes very precisely, but, as usual with Nestroy, put them in a different milieu. Therefore most of the roles had to be re-characterized:
- Henriette von Harriet is a rich heiress in the parody, the Lady Harriet Durham of the opera a maid of honor to Queen Anna (1665-1714)
- Chevalier Wuklfort is originally His Grace Tristan Mickleford, Lord of Parliament
- Leinöhl's mysterious deceased father turns from Count Derby into a bankrupt banker from the east, Leinöhl (in the opera Lionel) itself is consequently not the heir of an illustrious sex
- Like Plumkett, Plumpsack is a wealthy tenant, but his mother, who has already died in the original, is present on stage at Nestroy (the censorship would probably not have allowed two girls in a bachelor's household)
- the maids are turned into forestry and Bohemian servants in order to underline the Austrian flavor
The other characters are retained, only their milieu, an unspecified Austrian present, is adapted to the parody.
The second fair scene (third act, eighteenth scene), which is already too operetta-like in the original, is made even more meaningful by the reworking. It comes from the ballet Lady Harriett ou la servante de Greenwich (Lady Harriett or the Maid of Greenwich) from 1844, on which Flotow's opera was based , the first act of which Flotow had also composed. Here this scene serves to heal Lionel's delusions and thus has a dramaturgical purpose that is omitted in opera and parody.
Johann Nestroy played the Leinöhl, Wenzel Scholz the Plumpsack, Alois Grois the Chevalier Wuklfort, Friedrich Hopp the judge. The play was unsuccessful and was canceled after only three consecutive performances.
An original Nestroy manuscript with the title Martha or Die Mischmonder-Markt-Mägde-Mietung. Parodying farce with singing in 4 acts. is preserved. It is almost complete, but without the text of the Quodlibet (third act, twelfth scene) as well as the monologue and couplet of Leinöhl (third act, seventeenth scene), which are only hinted at. The division into four acts listed on the cover sheet has not been carried out, it remained with three. Some of Nestroy's manuscript sheets with preparatory work, drafts and concepts have come down to us from his estate.
The various preparatory work is alternately titled Martha or Die Mischmonder Markt Mägde Miethung , Martha or Die Mischmonder-Markt-Mägde-Miethung , Martha or Die Mischmondermarktmägdemiethung , Martha or the fair at Frischmond and also Martha or Die Mägdemiethung on the market at Mischmond .
The original score by Michael Hebenstreit, any copies and thus the music of the piece have been lost (see also the chapter on contemporary reception , last paragraph). Nestroy also used two pieces of music from the opera in Quodlibets of his antics of hell and you shouldn't have him .
Another parody of Flotow's opera appeared almost a year later under the title Martl, or Der Portiunculatag in Schnabelhausen by Alois Berla , the music was by Franz von Suppè . The premiere was on December 16, 1848 at the Theater an der Wien as a benefit for Karl Mathias Rott and Karl Treumann , but it was not a success and, like Nestroy's parody, was only performed three times.
Contemporary reception
Nestroy's parody displeased both the public and the critics and therefore had, with a few benevolent exceptions, a negative press.
In the Wiener Theater Zeitung of Adolf Bäuerle , though Nestroy always weighed, but here in ignorance of the author, was on 27 January 1848 (born in 41, No. 23, page 93).:
- “But it is just an ordinary boldness that the text of the opera has been translated into commonplace scene by scene and that the poetic fragrance and the magic of naturalness that lies over the music of the opera 'Martha' has been stripped off with a clumsy hand . And that's supposed to be a parody! "
On the other hand, the actors, the stage design and the costumes were highly praised.
The humorist of Moritz Gottlieb Saphir wrote on the same day about the disappointment of Martha foolish Viennese public (born 12, No. 23, page 90).:
- “Of course, the Martha Posse could not meet the requirements, which were scaled to the highest; and the Martha enthusiasts dared a bold attempt at opposition to the Martha Posse, which Nestroy and Scholz bravely fought off with the enormous power of their comedy. The Martha Posse was saved! "
In Wanderer , the editor wrote a humorous report about the impossibility of getting a ticket for the premiere, but then realized "that he lost nothing."
In the Allgemeine Musikischen Zeitung (January 27, year 8, No. 12, p. 46) there was a particular report on Hebenstreit's (now lost) music:
- “Mr. Hebenstreit used the little terrain that was offered to him here with the greatest possible skill. The following can be described as the most successful pieces: the overture; an unreact with a beautifully performed trumpet and an ugly horn solo, the spinning quartet, in which a well-known vocal melody with happy humor is appropriate, and a wine song sung by Mr de Marchion with a cheeky mood. "
Later interpretations
Helmut Ahrens states that Nestroy wrote his parody Martha at the request of his director Carl Carl , who always asked him about attractive plays . The recently performed, popular opera by Flotow seemed to him suitable. Nestroy, which in itself seldom happens to him, fell through his own haste. The "little work [was] written too hastily, is not overly cheerful and only experienced [...] three performances." He seems to have expected the diarrhea, however, because he obviously did not take it seriously.
Nestroy wrote this parody after Otto Rommel because he wanted to build on earlier successes of this kind. That is why Nestroy tried to translate the Flotow opera into the style of the older Viennese parody by translating the plot into cozy Austrian. But he had completely failed. Incidentally, Rommel also mentions the piece in three acts in his list of works.
In Brukner / Rommel it is noted that it is actually a travesty , since the piece fulfills its criteria rather than those of a parody, namely the retention of the content of the original while at the same time stylistic transformation.
Franz H. Mautner calls the piece "just good enough for a carnival joke" and continues:
- “The plot is peasant, moderately burlesque, Martha's character is coarse; here and there are allusions to the miserable economic conditions of the time. "
Friedrich Walla thinks that this work also has the “dark sides” that are characteristic of the poet, but that it has not become a typically satirical and witty Nestroy. Nevertheless, the play would not be without its charm and could still make a pleasant carnival or summer theater today with a good cast and staging.
literature
- Helmut Ahrens: I'm not auctioning myself off to the laurel. Johann Nestroy, his life. Societäts-Verlag, Frankfurt am Main 1982, ISBN 3-7973-0389-0 .
- Fritz Brukner / Otto Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, fourth volume, Verlag von Anton Schroll & Co., Vienna 1925, pp. 93–162, 337–356.
- Otto Rommel: Nestroys Works. Selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
- Friedrich Walla (Ed.): Johann Nestroy. Pieces 25 / I. In: Jürgen Hein / Johann Hüttner / Walter Obermaier / W. Edgar Yates : Johann Nestroy, Complete Works, Historical-Critical Edition . Zsolnay, Vienna 2000; Pp. 49-107, 413-581.
Web links
- Factory data, content and list of people on nestroy.at (accessed on April 8, 2015)
Individual evidence
- ↑ corruption of Richmond; Nestroy also considered the name Freshmoon
- ↑ Wuklfort = from Wuckerl (twisted curls), so Lockenfort as a synonym for bald head
- ↑ linseed oil = an oil obtained from linseed ; Pun in the first Act, 6 th Scene: This false name was "like clockwork"
- ↑ In the course of the preparatory work, the name Margareth and Margreth was written, then Margret in the fair copy, and Margareta on a playlist (with some errors)
- ↑ on the theater bill he was given the name Rohrbach
- ↑ Wachter = community servant with police function
- ↑ on the playlist he was given the name Ambros
- ↑ on the theater bill they were given the names Michel and Paul
- ↑ Waldbäurisch = means from the Waldviertel
- ↑ on the theater bill they were given the names Emerenz and Walperl
- ↑ on the theater bill they were given the names Marzinka and Babuschka
- ↑ on the theater bill he was given the name Fein
- ↑ on the theater bill he was given the name Jean
- ↑ on the theater bill they were given the names Peter and Jörgel
- ↑ on the theater bill he was given the name Sauer
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 59.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 63.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 65.
- ↑ silver-plated = decorated with silver fittings; Fresh wax egg [n] left = in the final processing, meerschaum pipe heads are embedded with wax and polished; spiegelmassa = made from pressed meerschaum waste ; meerfamenen = from meerschaum, from Austrian Fam = foam
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 75.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 93.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 100.
- ↑ Descent into blissful death = one of Nestroy's many often and gladly used neologisms
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 106.
- ^ Table of contents in Walla: Johann Nestroy. Pieces 25 / I. Pp. 442-444.
- ↑ Dem. Or Dlle. is the abbreviation for Demoiselle (= Fräulein), the name used to describe the unmarried women of an ensemble; the married actresses were titled Mad. (Madame)
- ↑ Facsimile of the title page of the Quadrille by Johann Strauss father in Walla: Johann Nestroy. Pieces 25 / I. P. 593.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 570.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 441.
- ^ Brukner / Rommel: Johann Nestroy, Complete Works. P. 351, footnote *)
- ↑ Facsimile of the theater ticket in Walla: Johann Nestroy. Pieces 25 / I. P. 594.
- ↑ Manuscript collection of the Vienna library in the town hall , call number IH 33.374.
- ↑ Manuscript collection in the Vienna City Hall, shelf marks IH 33.375, 33.376, 36.792, 79.849, 94.348.
- ^ Walla: Johann Nestroy. Pieces 25 / I. Pp. 413-417.
- ^ Walla: Johann Nestroy. Pieces 25 / I. Pp. 417, 438.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 437.
- ^ Walla: Johann Nestroy. Pieces 25 / I. Pp. 449-455. (for the entire chapter on contemporary reception )
- ↑ Entreakt = inter- act music from operas and plays
- ↑ Mr. Marchion played the specially inserted local clerk Blasius, since Scholz, who was supposed to sing the song, was not vocally up to the demands
- ↑ Ahrens: I'm not auctioning myself off to the laurel. P. 286.
- ^ Rommel: Nestroys Works. S. LXXVIII, XC.
- ^ Brukner / Rommel: Johann Nestroy, Complete Works. P. 349.
- ^ Franz H. Mautner: Nestroy , Suhrkamp Taschenbuch 465, Frankfurt 1978, p. 295.
- ^ Walla: Johann Nestroy. Pieces 25 / I. P. 49.