Call for Papers
Don Juan Archiv Wien, as the tenant of the only existing copy of the manuscript of newly-discovered Singspiel Das Serail (1778) by Joseph Friebert (1724, Gnadendorf, Niederösterreich–1799, Passau), in cooperation with University Mozarteum Salzburg/ Mozart Opera Studies Institute and Salzburg Global Seminar invites you to attend the International Interdisciplinary Symposium on May 19–21, 2016, at the Castle Frohnburg in Salzburg, Austria. In the framework of the symposium, the concert of the Mozart Opera Studies Institute will be held at the Leopoldskron Castle in Salzburg on May 19, 2016.
The focus of the consideration is Josef Friebert and his life and work in the wider context of his time. Having received his education in music at the Melk Abbey (1743–1745), Friebert moved to Vienna and continued studying with Giuseppe (Joseph) Bonno. He first became a successful tenor in the 1750s, with the operas of Christoph Willibald Gluck (Le cinesi, 1754; La danza, 1755) and from 1755 to 1764 he was engaged as a singer at the Vienna Burgtheater and the Kärntnertortheater. As an influential Hofkapellmeister at the prince archbishop’s court in Passau (1763–1796), Friebert was also a composer. His career as a performer is mainly known through to his engagements as a singer and his contributions to the Passau’s musical life, which include his stage works (six lost Italian operas performed between 1764 and1774: Angelica e Medoro, Dafne vendicata, Il componimento, Il natale di Giove, La Galatea and La Zenobia, in part obviously after libretti by Pietro Metastasio) and the 1789 German-language premieres of W. A. Mozart’s operas Le nozze di Figaro (1786) and Don Giovanni (1787). Friebert also composed Singspiele, although most probably not for the Passau stage. However, except for his vocal arrangement of Joseph Haydn’s instrumental Die Sieben letzten Worte unseres Erlösers am Kreuze (1787), Friebert’s compositional output remained almost unknown, his numerous works lost.
With the discovery of the only existing eighteenth-century manuscripts-copies of his three Singspiele – Das Serail (c. 1778), as well as Nanerl bey Hof (c. 1774) and partly Adelstan und Röschen (c. 1774), all three in the possession of the Don Juan Archiv Wien – it is possible to open an important chapter in the history of Austrian/Southern German music, concerning the production, performance and perception of these compositions; Friebert’s activities and his opus; performance history in his time and the perception of his Singspiele in the context of musical life in Vienna, Passau and elsewhere. As the compositional and performance practice were closely related, with composers writing music for certain singers, the activities of itinerant music troupes (journeys, repertoire, members) and their directors are especially recommended as a research topic. Friebert’s Singspiel Das Serail was a model for Mozart’s early stage works in the German language (Zaide, 1780; Die Entführung aus dem Serail, 1782). Stage works of these composers can also be (re)considered in the context of both ideological (philosophical and aesthetical treatises, essays and criticism) and technical (compositional procedures and musical means, mainly defined by stylistic topoi) models of semiotically defined music discourse.
On the broad basis of the defined thematic circles, the following subjects, formulated from the focus to the context, are welcome: