An Edition of Felix Mendelssohn Bartholdy's Incidental Music 'Antigone' (op. 55)

拟议中的项目将提供学术界以及音乐界作为一个整体的费利克斯门德尔松巴托尔迪的索福克林悲剧'安提戈涅'（1841年）的附带音乐的第一个关键版本。这样的版本是最及时的，因为研究兴趣在18/19世纪的附带音乐（即，音乐学家和戏剧学者对古典戏剧的研究正在蓬勃发展：德国最近的两个音乐学研究项目和几本书都专门研究这一类型。门德尔松的《安提戈涅》在这方面占有特殊的地位，因为它是普鲁士国王腓特烈·威廉四世试图复兴古典戏剧的开端。门德尔松的作品（连同其姊妹作品《俄狄浦斯在科隆诺斯》）是一部引人入胜的作品，在许多方面都是独特的尝试，试图将古典戏剧与19世纪的风格和情感相调和。然而，所有以前的研究一直关注的是语境问题，在某些情况下，音乐风格，文本设置等方面的提供一个明确的文本是所有更迫切的来源情况是远远不够直截了当。没有完整的乐谱签名现存-相反，有草图，草稿，合唱的短分签名，钢琴声乐还原，两个单独的序曲签名和一些当代手写乐谱副本（部分由作曲家授权）。门德尔松本人只监督了钢琴声乐乐谱的出版--完整的乐谱在他去世后出版。在这种情况下，一个考虑到所有可用资源的关键版本几乎肯定会导致对音乐文本的重大修改，因为我们迄今为止可以获得。该版本将包括两个部分-钢琴声乐乐谱和总谱;这两份报告都将考虑并记录所有当代资料，包括所有草图、草稿、初步版本和删除段落的版本，以及概述作品起源和表演历史的详细介绍。在评论报告的介绍中，该版本还将解决缺乏签名的“批准”副本的可靠性和权威性的首要问题。具体而言，它将使用外部和内部标准来确定每个副本的可靠性。通过这一过程开发的方法将可用于任何后续版本的作品具有类似的来源情况。可靠的文本的可用性也将促进本作品的表演- Breitkopf & Härtel将出版一个研究分数和表演部分与主要完整版卷。这将包括一个“实用”的评分歌手和演员，结合合唱钢琴声乐评分和全文的戏剧（与唐纳和博克版本作为两个授权版本的概要介绍），因为他们出现在发挥。这一做法对即兴音乐的版本来说是前所未有的，这将极大地促进演出。这与剧院对尝试包括18/19世纪即兴音乐在内的演出的兴趣增加以及门德尔松作品在音乐厅中的出现增加相吻合。2009年门德尔松诞辰200周年将进一步提高公众的兴趣。里卡尔多·夏伊（莱比锡布商大厦管弦乐队的指挥）表示，他有兴趣根据我的新版本上演一场演出，并可能根据这场演出发行CD（迄今为止只有一张商业录音）。

The proposed project will provide the scholarly world as well as the world of music as a whole with the first-ever critical edition of Felix Mendelssohn Bartholdy's Incidental Music for the Sophoclean tragedy 'Antigone' (1841). Such an edition is most timely because research interest in 18th/19th-century incidental music (i.e., music accompanying an otherwise spoken play) both by musicologists and by drama scholars is burgeoning: two recent musicological research projects in Germany and several books have been specifically devoted to this genre.Mendelssohn's 'Antigone' occupies a special place in this context as it stands at the beginning of King Frederick Wilhelm IV of Prussia's attempts to revive classical drama in all its aspects. Written for eight-voice male chorus with orchestra and consisting of an overture, eight choruses and a number of melodramatic passages (instrumental music accompanying spoken dialogue), Mendelssohn's composition (together with its sister work, 'Oedipus at Colonos') is a fascinating and in many ways unique attempt to reconcile classical drama with 19th-century style and sensibilities. However, all previous research has been concerned with contextual questions and in some cases aspects of musical style, text setting etc.The provision of a definitive text is all the more urgent as the source situation is far from straightforward. No full-score autograph is extant - instead, there are sketches, drafts, a short-score autograph of the choruses, a piano-vocal reduction, two separate autographs of the overture and a number of contemporary handwritten score copies (partly authorised by the composer). Mendelssohn himself only supervised the publication of the piano-vocal score - the full score was published after his death. Under these circumstances, a critical edition taking into account all available sources will almost certainly result in substantial revisions to the musical text as is available to us thus far. The edition will consist of two parts - the piano-vocal score and the full score; both will take into account and document all contemporary sources, including an edition of all sketches, drafts, preliminary versions and deleted passages, as well as a detailed introduction outlining the work's genesis and performance history.In the introduction to the Critical Report, the edition will also address the overarching question of the reliability and authority of 'approved' copies where the autograph is lacking. Specifically, it will use external and internal criteria to determine the reliability of each copy. The methodology developed by way of this process will be usable for any subsequent edition of works with similar source situations.The availability of a reliable text will also facilitate performances of this work - Breitkopf & Härtel will publish a study score and performance parts with the main Complete Edition volume. This will include a 'practical' score for singers and actors, combining the choruses in piano-vocal score and the full text of the drama (with the Donner and the Boeck version presented synoptically as the two authorised versions) as they appear in the play. This has never been done for editions of incidental music and will enormously facilitate performances.This coincides with increased interest by theatres to experiment with performances including 18th/19th-century incidental music, as well as a increased presence of Mendelssohn's works in the concert hall. The 200th anniversary of Mendelssohn's birth in 2009 will further increase public interest. Riccardo Chailly (director of the Leipzig Gewandhaus orchestra), has indicated his interest in staging a performance based on my new edition, and possibly a CD release based on this performance (only one commercial recording exists to date).