Music Research and Composition Works
Title
Much ado about something; or, così fan tutte in the romantic imagination: A commentary on and translation of an early nineteenth-century epistolary exchange
Document Type
Article
Publication Date
1-1-2008
Journal
Eighteenth-Century Music
Volume
5
Issue
1
First Page
75
Last Page
105
URL with Digital Object Identifier
10.1017/S1478570608001206
Abstract
Among the gems buried in Johann Friedrich Reichardt's short-lived Berlinische musikalische Zeitung is a ‘Musikalischer Briefwechsel’ that appeared over three volumes in September 1805. The text, cast as an epistolary exchange between the fictional characters Arithmos and Phantasus, argues the merits of Mozart's Così fan tutte. (The opera had recently returned to the Berlin stage after a thirteen-year absence.) The exchange has received little scholarly attention, and yet it is a remarkable document for the glimpse it gives both into Berlin's musical politics and, most of all, the reception history of Mozart's opera. The authorship of the ‘Briefwechsel’, which appeared pseudonymously, has been attributed to Georg Christian Schlimbach, a frequent contributor to the journal. This article, in contrast, argues that Reichardt himself makes the more likely author: the correspondence more closely reflects his personality, his ambitions for the advancement of opera in the Prussian capital and his theory of art. Indeed, arising from his defence of Mozart's opera is an extraordinary claim in the history of Così's reception: that the work exemplifies romantic irony. E. T. A. Hoffmann is famous for his terse praise of the opera's ‘ergötzlichste Ironie’. Reichardt, however, goes further by showing how the opera amalgamates, in quintessentially romantic fashion, the opposing forces of the comic and serious. Employing a Shakespearean conceit, he argues that Mozart's music amounts to more than ‘much ado about nothing’. Reichardt's move is the more significant given that he builds his reading not on Da Ponte's libretto but on German adaptations by Bretzner and Treitschke, translations that modern scholarship has widely faulted for lacking the original's subtlety. Thus, although Così fan tutte has generally been viewed as a work that runs counter to romantic tastes, Reichardt's ‘Briefwechsel’, along with some newly discovered material, provides a basis for revisiting that claim about the opera's place in nineteenth-century thought. © 2008, Cambridge University Press. All rights reserved.
