Die Königin von Saba. [Piano-vocal score]. Karl GOLDMARK.
Die Königin von Saba. [Piano-vocal score]
Die Königin von Saba. [Piano-vocal score]

Die Königin von Saba. [Piano-vocal score]

Oper in vier Acten (nach einem Text von Mosenthal) ... Op. 27 ... Clavierauszug mit Text.

Bremen: Schweers & Haake [PN H.P. 343], [after 1878].

Large octavo. Full black cloth boards with titling gilt to spine. 1f. (title), 276 pp. Text in German.

Boards somewhat worn, rubbed, and bumped; clear tape and adhesive residue; previous owner's name in manuscript to front free endpaper. Uniformly browned; occasional markings in pencil; first signature separated.

Die Königin von Saba, to a libretto by Salomon Hermann Mosenthal, was first performed in Vienna at the Hofoperntheater on March 10, 1875.

"Goldmark’s most famous, personal and successful work, the opera Die Königin von Saba, was inspired by his piano pupil, the Hofoper singer Caroline Bettelheim. In 1865 Salomon Mosenthal provided him with a suitable libretto, and in 1869 Goldmark received a grant of 800 Gulden from the Hungarian govenment, which enabled him to complete the opera in November 1871. In 1873, when it seemed to be rejected by the Vienna Hofoperntheater, Goldmark wrote a touching letter to Eduard Hanslick in its defence. He was persuaded to include part of Act 1, the arrival of the Queen of Sheba, in a Viennese charity concert on 11 January 1874 in which Liszt and Brahms also took part. Despite further intrigues, the première finally took place on 10 March 1875. It was a great success, and performances in many European operatic centres followed, as well as in New York (1885) and Buenos Aires (1901). Until the 1930s the opera had its most continuous performance tradition at Budapest.

The subject matter of Die Königin von Saba is similar to Bizet’s Djamileh, Delibes’ Lakmé, Saint-Saëns’s Samson et Dalila and other works of oriental colour. Stylistically the opera shows an impressive mixture: the representative scope of musical and scenic luxury is indebted to Meyerbeerian grand opera, whereas the strongly chromatic harmony and the continuous declamatory melodic style, which is only temporarily interrupted by closed forms, point to Wagner. With its opulent and exotic sonority Die Königin von Saba seems to have hit the nerve of its time. It was taken as the musical counterpoint to the orientalistic paintings of Hans Makart and the monumental Viennese fin-de-siècle buildings in the Ringstrasse. In this way Goldmark ranks as the true musical representative of the Austro-Hungarian monarchy in the last third of the 19th century." Wilhelm Pfannkuch and Gerhard J. Winkler in Grove Music Online.

Item #32147

Price: $30.00  other currencies

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