Alexander Zemlinsky
A Florentine Tragedy
Short instrumentation: 3 3 4 3 - 6 4 3 1 - timp, perc(2), hp, cel, mand, str
Duration: 60'
Textvorlage: Oscar Wilde
Übersetzer: Edward Downes
Herausgeber: Antony Beaumont
Libretto: Max Meyerfeld
Thematische Analyse von: Felix Adler
Roles:
Guido Bardi
tenor
Simone
baritone
Bianca
soprano
Instrumentation details:
1st flute
2nd flute
3rd flute
1st oboe
2nd oboe
3rd oboe (+c.a)
1st clarinet in Bb (+cl(A))
2nd clarinet in Bb (+cl(A))
3rd clarinet in Bb (+cl(A)
cl(Eb))
bass clarinet in Bb
1st bassoon
2nd bassoon
3rd bassoon (+cbsn)
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
5th horn in F
6th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
4th trumpet in C
1st trombone
2nd trombone
3rd trombone
bass tuba
timpani
percussion (2 players): xylophone, glockenspiel, triangle, cymbals, tam-tam, tambourine, snare drum, bass drum, sleighbells
mandolin
celesta
harp
violin I
violin II
viola
violoncello
contrabass
Zemlinsky - Eine florentinische Tragödie
Printed/Digital
Translation, reprints and more
Alexander Zemlinsky
Zemlinsky: A Florentine Tragedy - op. 16Type: Klavierauszug
Language: Deutsch
Alexander Zemlinsky
Zemlinsky: A Florentine Tragedy - op. 16Type: Studienpartitur
Language: Deutsch
Alexander Zemlinsky
Zemlinsky: Eine florentinische Tragödie - op. 16Type: Libretto/Textbuch
Sample pages
Audio preview
Work introduction
One of the most outstanding operas of the first half of the 20th century can be seen again in its full glory: Alexander Zemlinsky’s gripping one-act Eine florentinische Tragödie, which the composer wrote in 1916 based on a drama by Oscar Wilde, has been subjected to years of critical revision by Antony Beaumont.
Starting with the original manuscript for the opera, Antony Beaumont has drawn on all existing sources to create the new critical edition, including the vocal distribution of the 1917 Prague production, which took place under the the composer himself. He compared the sources and removed technical errors, contradictions and inconsistencies. The many differences between the score and the piano reduction are clarified and discrepancies in the instrumentation, ignored by Zemlinsky in his re-workings of the piece, have been removed. Both score and parts have been reproduced in the highest quality.