Intonation relations in Carl Dittersdorf’s operas and singspiels

- · 20.03.2025

Original article
DOI: 10.56620/2227-9997-2025-1-90-108

Svetlana B. Bubeeva

Gnesin Russian Academy of Music, Moscow, Russia,
bubeeva96@mail.ru, https://orcid.org/0009-0007-8059-0053
Abstract: The article is devoted to several works by C. Dittersdorf, written during the Viennese period in 1786–1789, which were his first experiences in the genre of the singspiel and were universally acclaimed in their time: «The Doctor and the Apotheker» (1786, «Doktor und Apotheker»), «The Happy Deception, or the Servile Spirits» (1786, «Der glückliche Betrug, oder Die dienstbaren Geister»), «Democritus Corrected» (1787, «Democrito corretto»), «Love in a Madhouse» (1787, «Die Liebe im Narrenhause»), «Hieronymus Knicker» (1789, «Hieronymus Knicker»). The study is based on the comparative method — a comparative analysis of the composer’s works with those of Mozart. The structural method, which allows us to consider the individual elements of the operas and their functioning in the structure of the whole, also proved important for us. The analysis of Dittersdorf’s works allowed us to discover a consistent system of repetitions and to reveal its close connection with the dramaturgy of the source material in the functioning of reminiscences and in the ways of their reproduction, taking into account the plot circumstances, as well as the role and status of the character to whom this or that motif is connected.

Keywords: С. D. von Dittersdorf, singspiel, intonation connections, motive, W. A. Mozart

For citation: Bubeeva S. B. Intonation Relations in Carl Dittersdorf’s opera and singspiels. Scholarly papers of Gnesin Russian Academy of Music. 2025;(1):90-108. (In Russ.). DOI: 10.56620/ 2227-9997-2025-1-90-108

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