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

该项目将向学术界和整个音乐界提供门德尔松巴托尔迪的《索福克莱因悲剧《安提戈涅》（1841年）的首个评论版。这样的版本是最及时的，因为音乐学家和戏剧学者对18 /19世纪附带音乐（即为其他口语戏剧伴奏的音乐）的研究兴趣正在蓬勃发展：德国最近的两个音乐学研究项目和几本书都专门致力于这种类型。门德尔松的《安提戈涅》在这种背景下占有特殊的地位，因为它代表了普鲁士国王弗雷德里克·威廉四世试图从各个方面复兴古典戏剧的开端。门德尔松的作品是为八声男声合唱团创作的，由一个序曲、八个合唱和一些情节剧段落（伴随着口头对话的器乐）组成，它（连同它的姐妹作品“科洛诺斯的俄狄浦斯”）是一个迷人的，在许多方面都是一个独特的尝试，将古典戏剧与19世纪的风格和情感结合起来。然而，所有先前的研究都关注上下文问题，在某些情况下，音乐风格，文本设置等方面。提供明确的文本更为紧迫，因为来源情况远非直截了当。乐谱上没有完整的亲笔签名——取而代之的是草稿、草稿、合唱部分的短谱亲笔签名、一段钢琴-声乐缩谱、序曲的两份单独的亲笔签名，以及一些当时手写的乐谱副本（部分由作曲家授权）。门德尔松自己只监督了钢琴声乐乐谱的出版——完整的乐谱是在他死后出版的。在这种情况下，考虑到所有可用资源的关键版本几乎肯定会导致对我们迄今为止可用的音乐文本进行实质性修订。该版本将包括两个部分：钢琴声乐乐谱和全谱；两者都将考虑并记录所有当代来源，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。在关键报告的介绍中，该版本还将解决缺少签名的“批准”副本的可靠性和权威性的首要问题。具体来说，它将使用外部和内部标准来确定每个副本的可靠性。通过此过程开发的方法将可用于具有类似来源情况的任何后续版本的作品。可靠的文本的可用性也将促进这项工作的表现- Breitkopf & Härtel将出版一个研究分数和性能部分与主要的完整版卷。这将包括为歌手和演员准备的“实用”乐谱，结合钢琴合唱乐谱和戏剧全文（唐纳和博克版本作为两个授权版本大致呈现），因为它们出现在剧中。这是从未为附带音乐版本做过的，将极大地促进表演。与此同时，剧院也越来越有兴趣尝试18 /19世纪的偶然音乐，以及在音乐厅中门德尔松作品的出现。2009年将迎来门德尔松诞辰200周年，届时公众对门德尔松的兴趣将进一步增加。里卡多·夏利（莱比锡格万德豪斯乐团的指挥）表示他有兴趣在我的新版本的基础上演出，并可能在此基础上发行一张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).