Seraglios in Theatre, Music and Literature
E-Book, Englisch, 328 Seiten
ISBN: 978-3-99012-190-0
Verlag: Hollitzer Wissenschaftsverlag
Format: EPUB
Kopierschutz: 6 - ePub Watermark
In Ottoman Empire and European Theatre, vol. IV: Seraglios in Theatre, Music and Literature, the series continues to explore one of the most popular subjects of eighteenth-century art: the seraglio and its harem. This volume provides a deeper understanding of the seraglio's various manifestations in the artworks, music and theatre of the Austrian/ Habsburg and central European regions, including interconnections with Italy and France, from the sixteenth to the nineteenth centuries.
The studies examine descriptions of the seraglio by European diplomats, the seraglio's visual traces in European artworks, and depictions of the seraglio in eighteenth-century Austrian Singspiele. They also consider seraglios from the Ottoman point of view and investigate the music of the seraglio in eighteenth-century opera.
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Ouverture
* Michael Hüttler (Vienna), Hans Ernst Weidinger (Vienna/Florence): Editorial
Prologue:
* Gülgûn Üçel-Aybet (Istanbul) : Banqueting at the Seraglio, as Described by European Diplomats of the Sixteenth and Seventeenth Centuries
Act I: The Painted Seraglio
* Nina Trauth (Brussels): Fantasies of the Harem in European Portraiture of the Baroque Period
* Darja Koter (Ljubljana): Traces of the Seraglio in the Artworks in Slovenia: Depictions of Dance, Music and Theatre from Seventeenth-Century Turqueries to Johann Josef Karl Henrici’s Paintings in the Late Eighteenth Century
* Polona Vidmar (Maribor): Count Stefano Carli’s La Erizia (1765): In the Harem of Sultan Mehmed II
Act II: The Seraglio in Italian–Ottoman Context
* Luca Scarlini (Milan): The Turks in Italy, or Another Mask of Don Juan: Mirrorings
* Alexandre Lhâa (Aix-En-Provence): The Metamorphosis of Tarare: Political Uses and Receptions of a 'Seraglio Intrigue’ from the Ancien Régime to the Restoration (1787–1826)
Act III: The Seraglio in Austrian Eighteenth-Century Singspiele
* Michael Hüttler (Vienna): Joseph Friebert’s Singspiel Das Serail (c.1778) in the Don Juan Archiv Wien: Provenance and State of Research
* Tatjana Markovic (Vienna): Das Serail (c.1778) by Joseph Friebert as an Embodiment of Enlightened Absolutism
* Strother Purdy (Milwaukee/WI): Irene, Doomed Queen of the Seraglio: A Wise Austrian Looks at Moslem-Christian Violence (Vienna 1781)
Act IV: Harem Fantasies on the Late Eighteenth- and Early Nineteenth-Century Austrian Stage
* John Sienicki (Grand Rapids/MI): But Not All Are Gentlemen: The Dark Side of the Harem Fantasy in the Works of Perinet, Spiess and Hensler
* Lisa Feurzeig (Grand Rapids/MI): The Harem Transplanted? A Hopeful Picture of Bigamy in Franz Schubert’s Unfinished Opera Der Graf von Gleichen
* Caroline Herfert (Vienna): Between 'Romantic Reverie’ and Critical Account: The Different Harems of Murad Efendi (1836–1881)
Act V: From the Ottoman Point of View
* Orlin Sabev (Orhan Salih, Sofia): European 'Seraglios’ and 'Strange Arts’ as Seen by Ottoman Encounters from the Seventeenth to the Nineteenth Century
* Emre Araci (London): “But if the Sultan Has a Taste for Song, We Will Revive our Fortunes Before Long”: Seeking Operatic Fortunes in the Nineteenth-Century Ottoman Harem
* Evren Kutlay (Istanbul): Musical Instruments in Ottoman Seraglios and Harems of the Eighteenth and Early Nineteenth Centuries
* Nazende Yilmaz (Istanbul): European Music Embraced in the Ottoman Seraglio
Appendix
* Index
* Curricula Vitae
EDITORIAL
MICHAEL HÜTTLER (VIENNA), HANS ERNST WEIDINGER (VIENNA/FLORENCE)
Seraglios in Theatre, Music and Literature is the sixth volume of the “Ottomania” book series and, within that series, the fourth issue of the Ottoman Empire and European Theatre collection. While “Ottomania” deals with Ottoman–European cultural transfers and questions of Orientalism–Occidentalism in general, Ottoman Empire and European Theatre focuses on theatre, music, literature, and art. The preceding volumes gave special attention to musical interconnections and the works of such composers as Wolfgang Amadé Mozart (1756–1791)1 and Joseph Haydn (1732–1809)2 as well as to influential poets such as Lord Byron (1788–1824)3 and his literary contribution to the theme of Orientalism and Occidentalism. With “Ottomania” volume five, Images of the Harem in Literature and Theatre, the series started to explore one of the most popular subjects of eighteenth-century theatre, music and literature: the seraglio and its harem. That exploration continues with the present volume, which provides a deeper understanding of the seraglio’s4 various manifestations in the artworks, music and theatre in the Austrian/Habsburg and central European regions, including interconnections with Italy and France, from the sixteenth to the nineteenth centuries. MAPPING THE ASPECTS OF RESEARCH
The book begins with a PROLOGUE, giving the reader an impression of the Ottoman seraglio in Istanbul as seen by European travellers who resided in Ottoman towns and cities for varying periods of time. Gülgûn Üçel-Aybet analyzes the reports of diplomats in her opening study “Banqueting at the Seraglio, as Described by European Diplomats of the Sixteenth and Seventeenth Centuries”. In receiving European ambassadors, official banquets have been given at the Divan (‘Imperial Council’) Hall in the Ottoman seraglio, and detailed descriptions of these banquets were written down by certain observers. Üçel-Aybet introduces the reader to the accounts of selected travellers such as Jérome Maurand (fl. 16th cent.), Philippe du Fresne-Canaye (1551–1610), Pietro della Valle (1586–1652) and M. Des Hayes (fl. 17th cent.); she also takes a close look at the description of the ambassadors’ reception and lunch at the Topkapi Palace. ACT I is dedicated to THE PAINTED SERAGLIO and follows visual traces of the seraglio in European artworks of the seventeenth and eighteenth centuries. Nina Trauth opens this section with “Fantasies of the Harem in European Portraiture of the Baroque Period”. Her article studies the role of the harem in orientalizing portraiture and describes how, from the seventeenth century onwards, it became fashionable for Europeans to have their portraits painted in what was perceived to be oriental clothing. In analyzing different strategies and functions of male and female self-expression in foreign costume, Trauth observes, “it is in the personification of the Orient in foreign robes that racial and gender differences meet”.5 In the next contribution, Darja Koter follows the “Traces of the Seraglio in the Artworks in Slovenia” by commenting on “Depictions of Dance, Music and Theatre from Seventeenth-Century Turqueries to Johann Josef Karl Henrici’s Paintings in the Late Eighteenth Century”. Central to her research is the collection of turqueries at the Regional Museum Ptuj-Ormož in Slovenia, the largest preserved and so far the biggest known collection of oil-painted turqueries in Europe. Koter furthermore elaborates on two pictures by the Central European painter Johann Josef Karl Henrici (1737–1823), The Concert at the Oriental Court (1786) and The Lute Concert (c.1786), both preserved at the Akademija za glasbo (‘Academy of music’) in Ljubljana, and considers how they may reflect a performance given in Bolzano of Franz Joseph Sebastiani’s (1722–d. after 1778) Das Serail, Oder: Die unvermuthete Zusammenkunft in der Sclaverey zwischen Vater, Tochter und Sohn (‘The seraglio, or: the unexpected encounter of father, daughter and son in slavery’), with music by Joseph (Giuseppe) Friebert (1724–1799). With “Count Stefano Carli’s La Erizia (1765): In the Harem of Sultan Mehmed II”, Polona Vidmar examines the tragedy La Erizia, the heroic story of a young and beautiful Christian girl who chooses to die rather than become the wife of the barbaric and cruel infidel Sultan Mehmed II (1432–1481, r.1444–1446 and 1451–1481); Vidmar investigates its historical-political context concerning the Venetian-Ottoman relations, along with its art-historical context as found in Venetian painting and graphics from the sixteenth through the nineteenth centuries. Also discussed are the family history of the Koper-based Counts of Carli and a portrait series depicting Carli family members in Ottoman attire. ACT II sets the focus on THE SERAGLIO IN ITALIAN–OTTOMAN CONTEXT. Luca Scarlini, in his contribution “The Turks in Italy, or Another Mask of Don Juan: Mirrorings”, investigates Livorno and Venice as stages of exchange between Turks and Europeans. Scarlini points to the fact that Livorno had with Cheri Bey, or Antonio Bogos (1604–1674), a former Head of the Armenian community in Constantinople, the first gonfaloniere (‘Lord Mayor’) coming from abroad to an Italian town. As the author observes, for Italians, a levantino, coming from the East, with Armenian, Turkish or Syro-Lebanese origin, meant somebody with different attitudes towards life. Scarlini investigates the recurrent feature of representation of Oriental men, “who came to Italy and gave a long look to the local women and men, designing a hidden history of Italy as exotic-erotic paradise for Easterners”. Alexandre Lhâa re-examines the politically motivated modifications of Pierre-Augustin Caron de Beaumarchais’s (1732–1799) successful seraglio opera Tarare in the wake of the French Revolution. In his study “The Metamorphosis of Tarare: Political Uses and Receptions of a ‘Seraglio Intrigue’ from the Ancien Régime to the Restoration (1787–1826)”, Lhâa investigates the political uses of the opera in Milan and Genoa within the changing contexts of the stormy years 1792–1815, when sovereignty in those cities changed frequently. In ACT III, with the topic THE SERAGLIO IN AUSTRIAN EIGHTEENTH-CENTURY SINGSPIELE, a hitherto unknown Singspiel by a successful Austrian Hofkapellmeister is presented for the first time to a wider public, and an Austrian author’s seraglio story is analyzed. Michael Hüttler’s paper “Joseph Friebert’s Singspiel Das Serail (c.1778) in the Don Juan Archiv Wien: Provenance and State of Research” deals with the eighteenth-century Austrian composer, librettist, singer and Hofkapellmeister Joseph Friebert and his recently discovered Singspiel Das Serail (‘The seraglio’). Hüttler researches the only existing copy of the music manuscript, dated “1779”, follows Friebert’s life and activities and investigates the manuscript’s possible provenance. Also discussed are questions concerning various editions of the Serail’s text and traces of its earliest performances. In a closely connected paper, “Das Serail (c.1778) by Joseph Friebert as an Embodiment of Enlightened Absolutism”, Tatjana Markovic considers the concept of the harem and seraglio as embodiments of the society of enlightened absolutism, by pursuing the research on Friebert’s Singspiel, its text by Franz Joseph Sebastiani and the new wording of the musical numbers used by the troupe of Felix Berner (1738–1787). Her analysis of the music takes into consideration the musical conventions and singspiel rules of that time, and she attempts to define Friebert’s relation to Mozart’s operatic music as well as to stage works by other contemporary composers. Another Austrian seraglio story is the subject of Strother Purdy’s essay, “Irene, Doomed Queen of the Seraglio: A Wise Austrian Looks at Moslem-Christian Violence (Vienna 1781)”. He takes a close look at the tragedy Irene by Cornelius Hermann von Ayrenhoff (1733–1819), author and field marshal lieutenant in the Austrian army, and details the historical facts behind the story of the murder of the actual Irene. Purdy leads us back in time to Constantinople in 1453, when the city, capital of both the Roman Empire and the Christian East, fell to the forces of Islam under Mehmed II, the Conqueror. He also examines the literary sources available to Ayrenhoff, including works by Matteo Bandello (c.1480–c.1561), William Shakespeare (1564–1616) and Voltaire (1694–1778). ACT IV extends the focus on Austrian composers and authors, taking a look at HAREM FANTASIES ON THE LATE EIGHTEENTH- AND EARLY NINETEENTH-CENTURY AUSTRIAN STAGE. The general intellectual attitude towards the Ottoman Empire changed with the spread of Enlightenment ideas. However, as John Sienicki relates in “But Not...
