Musical Borrowing
An Annotated Bibliography

Individual record

[+] LaRue, Jan. "A 'Hail and Farewell' Quodlibet Symphony." Music and Letters 37 (July 1956): 250-59.

Paul Wranitzky is one of the only eighteenth-century symphonists to compose a symphony based on Haydn's concept of diminishing returns in his "Farewell" symphony. His Symphony in D not only includes Haydn's concept in the final movement, but also presents its reverse, starting the first movement by bringing players in one at a time. Wranitzky's symphony is even more exceptional because of its third movement, subtitled "Ein Quodlibet." This movement borrows from eleven melodies, which are all named in the score. Many are treated as a theme for variations. Wranitzky uses folk songs commonly used as themes for variations by composers of his generation. Most of the melodies are from popular opera arias performed frequently at that time. He often keeps much of the orchestration of the original aria, while changing the vocal line to an instrument. Occasionally he changes instrumentation to be ironic.

Works: Paul Wranitzky: Symphony in D Major (250, 252-58).

Sources: Haydn: Symphony No. 45 in F-sharp Minor ("Farewell") (250, 257); Anonymous: A Schlüsserl und a Reindl (253-54), Mama mia non mi gridate (254); Giovanni Paisiello: "Nel cor piu non mi sento" from La Molinara (255); Mozart: "Non piu andra" from Le Nozze di Figaro (255), Die Zauberflöte (255-56); André Ernest Modeste Grétry: Richard Coeur de Lion (255); Antonio Salieri: Palmira (256); Joseph Weigl: "Pria ch'io l'impegno" from L?amor marinaro (256); Simon Mayr: "Contento il cor nel seno" from Lodoiska (256); Jakob Heibel: Le nozze disturbate (256-57).

Index Classifications: 1700s

Contributed by: Danielle Nelson

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