Partition complète, Mefistofele, Boito, Arrigo

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Consultez la partition de musique Mefistofele partition complète, opéras, fruit du travail de Boito, Arrigo. Partition de style romantique célèbre.
La partition propose une sélection de mouvements: 4 ou 5 Acts, avec Prologue et Epilogue et est répertoriée dans les genres
  • opéras
  • Stage travaux
  • pour voix, chœur mixte, orchestre
  • partitions pour voix
  • partitions chœur mixte
  • partitions pour orchestre
  • pour voix et chœur avec orchestre
  • italien langue
  • pour piano 4 mains (arr)
  • partitions pour piano
  • partitions pour piano 4 mains
  • pour 2 musiciens

Découvrez dans le même temps une sélection de musique sur YouScribe, dans la rubrique Partitions de musique romantique.
Edition: London: Ricordi, n. d. [1880]. Plate 46855.
Traducteur: Theodore Marzials (1850-1920), English text
Libbretiste: Arrigo Boito
Publié le : mercredi 21 mars 2012
Lecture(s) : 82
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Licence : Libre de droits
Nombre de pages : 257
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MEPHISTOPHELES
COMPOSED BY
BOITO.ARRIGO
BY THEO. MARZIALS.ENGLISH ADAPTATION
MICHELE SALADINO.PIANOFORTE ARRANGEMENT BY
S&t
&c.vocal or instrumental arrangements, &c,perfoimance, translation,rights of printing, copying,All
are strictly reserved.of this opera,
CO.RICORDI &G.
- - Street. 265LONDON. W. RegentRegent Street265,
- - NEW-YORK- - - PALERMO - LEIPS1Q BUENOS-AIRESROME NAPLESMILAN
- EDITIONS RICORDI.PARIS SOC. ANON. DESNOTES.
"wrote Marlowe in his Doctor Faustus "; Mephostophilus, wrotePrologue.—Mephistophilis,
his "Merry Wives of Windsor"; Mephostofiles, wrote Widman in his legendShakespeare in
"" " "Mephisto and Mephistophola are often found in the complaintes, and balladsof Faust ;
Pfitzer, inand romances of the sixteenth century. John 1726, established the actual form
" " wich was afterwards adopted by Goethe, Lenau,Mephistopheles, &c.
"" "in his Faustsage gives this name a Greek derivation, from méphotophilos,Duntzer
an enemy of Light.
ACT I.
"" " "introduced a water-dog insteadWe know that Goethe has here of a grey friar,
in old legends and descriptions of Faust we find thebut on the other hand the Grey Friar.
" ")have followed the legendary tradiction. (W. Widman, Life of Faust.We
ACT n.
"" Saboé aSaboé har Sabbah? Les initiés chantaient et les sorcières au Sabbat criaient
' " "" Sabbah! Loyer, Des Spectres, vii.,tue-tète har (See Le 1. c. 5.)
ACT IV.
"The fourth Act and the Epilogue of the present Opera are taken from Goethe's Second
" and necessary complement of the first.Faust, which is the continuation Without this
continuation the drama remains imperfect in its highly moral scope and development. A
bargain between Heaven and the Devil is the starting-point of Goethe's poem; if the acn'on
ceases at Margaret's death the bargain has never been fulfilled , nor the scheme of the drama
properly evolved.
The struggle therefore be prolonged until the death of Faust, who ismust the subject of
the bargain.
The Night the Classical Sabbath.—In this all-classical part of the tragedy triedwe haveof
the experiment of transporting into the Italian language the Greek system ot versification, so
as to give an air of greater poetic truth to the scene.
discovery wasRhyme, the of the Romantic poets, unknown to the Greek Muse. Helen, still
;t " " "singing in classic verse, seeks the secret of this rhyme, ineffable echo, and lovesthis in
learning it. Here is a myth both deep and beautiful. Helen and Faust represent Classic and
Romantic Art gloriously wedded, Greek beauty and Germanic beauty gleaming under samethe
glorifiedaureole, in one embrace, and generating an ideal poesy, eclectic, new, and powerful.
EPILOGUE.
Goethe places around Faust at the commencement of this scene four ghostly figures who
words. Whatutter strange and obscure Goethe has placed on the stage we place in the
submitting sounds instead of words,orchestra, in order to render more incorporeal and im-
palpable the hallucinations that troubie Faust on the brink of death.
""Goethe was a great admirer of form, and his poem terminates in the same way that
" " "— and last wordsit commences the first of Faust are uttered in heaven. Le motif
" "glorieux, writes M. Blaze de Bury, que les immortelles phalanges chantent dans ['intro-
" "duction de la première partie de Faust, revient à la fin enveloppè d'harmonie et de
vapeurs mystiques. Goethe a fait cette fois comme les musiciens, comme Mozart, qui ramène
"" "à la dernière scène de Don Juan la phrase imposante de l'ouverture. We have tried
realise in sounds this musical aspirationto of Goethe's, and hence we have repeated in the
Epilogue the theme of the Prologue, seeking, as much as possible, to fulfil the conception of
""the poet. (See Baron Blaze de Bury, Essai sur Goethe).DRAMATIS PERSONS.
u&>
II.PARTPART I.
Soprano.HELENMEPHISTOPHELES Bass.
Tenor.Tenor. FAUSTFAUST
Bass.MARGARET Soprano. MEPHISTOPHELES
Con'.r.iho. PANTALIS Contralto.MARTHA
Tenor.WAGNER Tenor. NEREUS
Chorus: Spirits, Chorus Mysricus, Cherubs, Penitents, Promenaders, Archers, Huntsmen,
Students, Peasants, Burghers, Witches, Warriors.Wizards, Svrens, Greek Coryphees,
Sn.EXT Characters: Promenaders, Witches, Sprites, Wizards, Pages, Soldiers, Xobles,
Dignitaries, Fauns, a Buffoon, a P'ibiic Crier, a Zany, Brewer,Juggler, a a the Elector,
the Executioner, a Beggar.
Dance: Act I., Scene I, Dance of Peasants. Act II., Scene z, Round of Witches. Act IV.,
Scene 2, Choric Dances.
NS>&'
lo
loINDEX.
THE HEAVENS.PROLOGUE IX
PAGE
1° Tempo—Prelude and Chorus I
Instruments'II Tempo.— Scherzo 10
Dramatic Interlude ... 16
111° Tempo.—Vocal Scherzo.. 20
TV" Tempo.—Final Psalmody 32
PART ActI. I.
Easter Sunday.. 47
Act II.
The Garden ...
97
The Night of the Sabbath
1 r
Act III.
Death of Margaret 178
PART II. Act IV.
Night of the Classical Sabbath 200
EPILOGUE.
The Death of Faust..
2?4.
MEPHISTOPHELES.
OPERA BY
ARRIGO BOITO.
—+
Prologue in the Heairens
Knowest thou Faust?
I? TEMPO. (GOTHE.)
and CHORUS.PRELUDE
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