Tannhauser (Nestroy)
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| Title: | Tannhauser |
| Genus: | Travesty with singing |
| Original language: | German |
| Author: | probably Johann Nepomuk Nestroy |
| Literary source: | " Tannhäuser and the fight on the Wartburg " by Hermann Wollheim |
| Music: | Carl Binder |
| Publishing year: | 1857 |
| Premiere: | October 31, 1857 |
| Place of premiere: | Carltheater Vienna |
| Place and time of the action: | The action takes place simultaneously in several centuries, the 1st act at a champagne spring, the 2nd elsewhere, the 3rd after the 2nd. |
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Tannhäuser is a future antagonist with past music and current groups in three acts , the world premiere was on October 31, 1857 "for the benefit of the widow Scholz " at the Carltheater in Vienna . The piece is based on the Tannhäuser travesty and the fight on the Wartburg by Hermann Wollheim and parodies the opera Tannhäuser and the singer's war on Wartburg by Richard Wagner .
In the past, literary historians questioned whether Johann Nestroy is the author; more recent historians tend cautiously to recognize him as an author. Later, Nestroy's parody was often referred to as Wollheim's longer title.
content
Tannhäuser and Venus sit at a gala dinner and praise love. But suddenly Tannhäuser hears the ringing of bells, halter bubbles and animal voices from above, he gets homesick and decides to leave Venus:
- "O resound, their homeland joy songs,
- The earthly pub beckons, it has me back. " (First act, second scene)
When Venus realizes that she can no longer keep her lover in her kingdom, she curses him, but he flees. He ends up sleeping in a mountain area, where the shepherd blows the bagpipes. The landgrave's men's choir, which had been banned by Purzel for cultivating the “music of the future”, marches past. Tannhäuser wakes up and is appalled by his inadequate clothing:
- “I have no panache than this rudderless
- And these are my only knight summer pants. " (First act, fourth scene)
He falls asleep again when fanfares announce the Landgrave. Purzel comes with Wolfram, Walter, Fridolin and a large entourage, they sing a happy hunting song. When Purzel notices Tannhauser asleep, he immediately looks familiar:
- "You friends, see, should my eye be wrong,
- Here a strange knight lies walking.
- I even think I know this wanderer
- Either it's him or it's someone else! " (First act, fifth scene)
Tannhauser wakes up, but refuses to give the reason for his long absence. Nevertheless, everyone is happy that he is back and together they set off for the Wartburg.
Elisabeth enters the great hall of the Wartburg and greets the guests. Wolfram leads Tannhäuser in and lets him understand that he too has taken Elisabeth into his heart. But his rival reassures him:
- “I can't believe your whole heart.
- I'll leave something for you. " (Second act, second scene)
Now Tannhäuser Elisabeth expresses his love. Landgrave Purzel ascends the throne and orders the singing war to begin. After Wolfram and Tannhäuser performed their songs, the latter gossiped and told of his stay in the Venusberg. Elisabeth can't believe it and faints. From outside you can hear the men of the choral society passing by and Purzel orders Tannhäuser to join the group and only come back to the Wartburg when he has lost his voice:
- "Do you hear the men's choir,
- Who am I banished from my lands?
- With him you will move away and never return,
- As long as you still have a note to listen to. " (Second act, fifth scene)
After a long time the choral society has returned from abroad. Elisabeth had hoped to see her still beloved Tannhauser in his ranks, but in vain. She is very sad about this and announces to Wolfram that she will die:
- "So now I'm going to look at the grotto,
- And there I will languish to death.
- Goodbye and just wait a moment
- I'll return to you soon as a corpse. " (Third act, third scene)
Landgrave Purzel comes sobbing heavily with a huge handkerchief and announces that Elisabeth has "lamented herself to death" . At this moment Tannhäuser staggered, his suit ragged and a large bottle of schnapps dangling around his neck. Wolfram sees the figure approaching:
- "Is it possible? Kruzi Turks , Crimines!
- He is it! it's my friend Tannheser! " (third act, fourth scene)
He says that he has sung many tenor roles in opera houses, but all his efforts to ruin his voice have not been fruitful. That's why he decided to return to the Venusberg. The entrance to the grotto opens, but then Elisabeth's funeral procession approaches. Tannhäuser falls down crying loudly in front of the bier and kills himself. Now Venus appears, overcome by this true love, and brings both of them back to life. Landgrave Purzel happily announces:
- "As a fiancé I recommend, I as an uncle tell the story,
- Heinrich Tannhäuser and Elisabeth bourgeois landgrave nieces. " (Third act, sixth scene)
author
Nestroy's authorship cannot be determined with complete certainty; literary historians used to be more convinced that it was hardly him, and only recently has a rethinking taken place. Nestroy himself only mentioned the work in a single letter (on January 22, 1861), but did not specifically refer to himself as the author. The play was always performed anonymously during his lifetime.
The piece is not mentioned in Vinzenz Chiavacci's and Ludwig Ganghofer's Nestroy compilations. Otto Rommel often doubted Nestroy as an author, but nevertheless cited the work. Otto Basil spoke out decisively against Rommel's already hesitant inclusion in his anthologies:
- "The 'Tannhauser' parody [...] may no more be considered a work by Nestroy than ' Twelve Girls in Uniform ' or ' An educated house servant '."
According to Peter Branscombe , Nestroy is supported by the fact that his failure to mention it could be explained by the fact that he saw himself as not so important as a text editor of a musical work, but only as Carl Binder's text editor. The typical Nestroy text passages, especially original word coining and linguistic subtleties, also speak for Nestroy. The contemporary reviews, after vague assumptions at first, came to the conclusion that Nestroy was undeniably the author of the play, even though he was initially “only” praised as a brilliant interpreter of the Purzel role. Franz H. Mautner is convinced of this for stylistic reasons, as is the philologist Herbert Hunger , who had studied Nestroy's language intensively. He names some typical neologisms that point to it ("Philomelerisch / Philomelerer", "Zukunftshirsch, -schneider, -oper", "Singsangsieger", "Slivowitzruine", etc.).
Factory history
Nine years after its premiere in Dresden, Richard Wagner's opera Tannhäuser came on stage in Breslau. The resident theater-loving doctor Hermann Wollheim decided to write a parody for a performance on the court day of the Corps Silesia Breslau in Frankfurt (Oder) . Wollheim was a senior in this fraternity. The performance was such a great success that several theater administrations asked for the play. So it went to print soon after its premiere, with the title Tannhäuser and the fight on the Wartburg .
Wagner's opera was first played in Vienna on August 28, 1857. According to the source of Wollheim's play, Johann Nestroy probably also wrote a Tannhauser for the Carltheater, which he himself took over as director in 1854 after the death of the founder and namesake Carl Carl . Since the censorship files had already been submitted on September 12, 1857 - 15 days after the Vienna premiere of the Wagner opera - the author of the parody is likely to have started his work before this premiere based on the Wollheim text available to him. He shortened the template to three files, removed it from the student environment and transplanted it from the Wroclaw beer to the Viennese wine atmosphere. He replaced the academic jokes with theater jokes and had his conductor Binder write his own music.
The premiere took place on October 31, 1857; Nestroy played Landgrave Purzel, Karl Treumann played Tannhauser, Alois Grois played Wolfram, Friedrich Hopp played the catafalker, Wilhelm Knaack played the shepherd. A quiet party or How to pay your interest was given by Felix Sternau as the second piece of the evening . After 75 performances, the first series of performances ended on October 30, 1860.
The resumption in the Treumann Theater took place on December 16, 1861 with the same cast. Here the comedy Niece and Aunt by Karl August Görner was the opening credits. In this theater, with Nestroy's participation, another ten performances took place until his death.
A theater manuscript with the title Tannhäuser / Future Opera with past music and current groupings in 3 acts. Music by Kapellmeister Carl Binder , note on the title page for the Friedrich Wilhelmstädtsche Theater in Berlin, Carl Binder mp is preserved in the Landesarchiv Berlin .
In the Berlin State Library there is a score entitled Tannhäuser Parody in 3 Acts Music by Carl Binder Capellmeister mp Note on the title page For the City Theater in Poznan Carl Binder mp Kapellmeister .
A piano reduction , title Tannhäuser. Opera parody in three acts by Johann Nestroy, music by Karl Binder. Complete piano excerpt with text, sequence of scenes and the key words. Published by Georg Richard Kruse. Leipzig: Printing and publishing by Philipp Reclam jun. (without a year) expressly names Nestroy as the author of the text.
Contemporary reception
The contemporary newspaper reports were mostly positive.
The humorist of Moritz Gottlieb Saphir already wrote on November 1, 1857 (No. 294, p 1176th), but quite restrained:
- "Since we only have to report the success today, we want to leave the 'quiet party' aside and just report that the external success in the 'Tannhauser' in the first two acts was decidedly more favorable. The third act is the weakest. The piece and the music do not rise above the old-trivial, the insignificant, the noisy. "
The Morgen-Post , also from November 1st (No. 300), dealt in particular with Carl Binder and his successful parody of Wagner's "Future Music":
- "Kapellmeister Binder knew how to parody the so-called music of the future and its learned instrumentation from the first stroke of the violin to the last bang, happily and surprisingly, and the effect was all the more drastic, the more funny the interwoven, well-known melodies sounded."
In the foreign paper of the same day (No. 251) Binder's music was also praised, a short paragraph also dealt with the accompanying program:
- “Binder's music is the best we've heard in this genre; she skillfully weaves together the serious tunes of Tannhauser with modern melodies and the instrumentation is particularly well done. [...] The parody was preceded by a farce 'A quiet party' as a filler, which is outrated and long-winded and will soon give way to a better stop-gap. The house was overcrowded, dedicated to the widow Scholz. "
The Blätter für Musik, Theater und Kunst from November 3rd (No. 88, p. 350 f) revealed the author's "open secret", the editor named Nestroy for the first time:
- "The complete victory, to whom (sic!) Has won the cause, is to be granted from the heart to Mr. Nestroy, both as an enterprising, restless director and as the witty and witty author of this parody (whose anonymity has already become a public secret)."
In the Wiener Theater Zeitung of Adolf Bäuerle (no. 253) on November 4, this has been addressed indirectly:
- “On this occasion we cannot help but deny, according to the most reliable source, the news from Pesther Llloyd that a local writer called Dr. Max Friedländer wants to make the author of this Tannhauser parody. "
The East German Post (No. 254) also called Nestroy's authorship a given fact, and the humorous magazine Hans-Jörgel von Gumpoldskirchen confirmed this.
The second series of performances in the Treumann Theater from 1861 onwards also had positive reviews. The foreigner paper again praised Nestroy's game as Landgrave Purzel; the magazine Der Zwischen-Akt wrote that the imperial family with the ruler at its head, some ministers and diplomats as well as the "elite of haute finance" had attended the evening.
Later interpretations
Rommel gave the two parodies Tannhauser and Lohengrin (1859) a special position, but wrote mainly about Wollheim's work, which he claims was mainly a parody of Wagner's music. He does not question Nestroy as an author and also cites the piece in his list of Nestroy's works, albeit very critically:
- “In a convenient way of referring to the original, taking out entire parts and only using light, but often witty retouching, to re-style the north German brash diction into Viennese drama, energetically shortening tasteless proliferation (Farewell to Venus, Singers' War), Nestroy has the funny beer opera, their The spirit of the 'higher nonsense' was transformed into a real parody, which points its tips against the concept of the future music, a tendency that is missing in the original. "
Even Helmut Ahrens referred to Tannhäuser as "not actually a Nestroy work" , but as a simple replica of the fun of Wollheim. However, he mentions the great laughing success that the performances would have had.
Otto Forst de Battaglia stated that Nestroy's literary activity in the later years was poor in poetically valuable. The Tannhäuser parody is still alive today, but it is far behind his earlier works. He especially railed against
- "[...] the mere sound jokes, meaningless end rhymes, the separation of compound words (they wish to guess today) [...]"
Rio Preisner evaluates both Wagner parodies from 1857 and 1859 as "directed against the first, pre-revolutionary phase of Wagner's work" , so they should be seen from the outset as old-fashioned and outdated.
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 .
- Peter Branscombe (Ed.): Johann Nestroy; Pieces 36. In: Jürgen Hein , Johann Hüttner , Walter Obermaier , W. Edgar Yates : Johann Nestroy, Complete Works, Historical-Critical Edition. Deuticke, Vienna 2000, ISBN 3-216-30335-7 .
- Otto Rommel: Nestroys Works. Choice in two parts. Golden Classics Library. German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
Web links
- Table of contents and list of people in nestroy-stuecke / 78_tannhaeuser (accessed on February 13, 2014)
- Danielle Buschinger: Richard Wagner's Middle Ages. Königshausen & Neumann, 2007, ISBN 978-3-8260-3078-9 , pp. 43-44. [2] (accessed on March 23, 2014)
Individual evidence
- ↑ derived from tumbling = falling, overturning
- ↑ see Tannhäuser (poet)
- ^ A corruption of Wolfram von Eschenbach
- ^ Verballhornung von Walther von der Vogelweide
- ↑ Here Nestroy's intention is no longer comprehensible
- ↑ Katafalker = from Katafalker , here meant as bitters for the corpses
- ↑ a b Nestroy makes fun of Wagner's use of the term “future” with expressions such as “future antics”, “music”, etc.
- ↑ Nestroy's favorite stage partner Wenzel Scholz died on October 5, 1857
- ^ Branscombe: Johann Nestroy; Pieces 36. " p. 7.
- ↑ see Koller or Goller
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 14.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 15.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 20.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 27.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 30.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 31.
- ^ Branscombe: Johann Nestroy; Pieces 36. p. 38.
- ↑ Otto Basil: Johann Nestroy in self-testimonies and image documents. Rowohlt, Reinbek near Hamburg 1967, p. 141.
- ↑ Philomelerisch / Philomelerer = corruption of Philomela
- ↑ Slivowitz ruine = a person brought down by the slivovitz ( plum brandy )
- ^ Branscombe: Johann Nestroy; Pieces 36. pp. 1-4.
- ↑ a b Rommel: Nestroy's works, p LXXXIII-LXXXIV, XCI.
- ↑ Facsimiles of the theater bill in Branscombe: Johann Nestroy; Pieces 36. pp. 299, 301.
- ↑ Landesarchiv Berlin, signature T.138
- ↑ Music Department of the Berlin State Library, SignaturMus.ms. 1854/16
- ^ Reprint of this vocal score in Branscombe: Johann Nestroy; Pieces 36. pp. 187-298.
- ^ Branscombe: Johann Nestroy; Pieces 36. pp. 116-148. (for the entire chapter on contemporary reception )
- ↑ haute finance = French for high finance, a group with economic power [1]
- ↑ Ahrens: I'm not auctioning myself off to the laurel. P. 345.
- ↑ Otto Forst de Battaglia: Johann Nestroy, appraiser of humanity, magician of the word. Leipzig 1932, pp. 76, 155.
- ^ Rio Preisner: Johann Nepomuk Nestroy. The creator of the tragic farce. Carl Hanser Verlag, Munich 1968, p. 171 f.