The Magic Flute
Arrangement for chamber orchestra (arr. U. Stäuble) KV 620, 1791
It is one of the most frequently performed operas in the world. Written in 1791 for Emanuel Schikaneder’s theater in Vienna, The Magic Flute by Wolfgang Amadeus Mozart combines elements of fairy-tale magic with ideas drawn from Freemasonry. In his final opera, Mozart unfolds the full range of his compositional mastery: from the folksong-like melodies of Papageno’s numbers, to Pamina’s heartfelt arias, to the depth and serenity of Sarastro’s singing, and the Queen of the Night’s dazzling coloratura. The Magic Flute is a serious opera, lively singspiel, and Enlightenment parable rolled into one. In short: there is something for everyone – and perhaps that’s the reason for its enduring success.
Urs Stäuble’s version reduces the orchestra to chamber size without compromising the musical substance. On the contrary: thanks to the transparent instrumentation, the melodic lines and harmonic progressions emerge with greater clarity. The original trombone parts are here performed by the other wind instruments, while trumpet and timpani are included ad libitum.
This version is particularly suitable for smaller ensembles, university orchestras, and concert performances with limited space. In addition to the full score, a vocal score, orchestral parts, and choral score are also available.
| Original version | Arrangement for chamber orchestra |
| 18 Soli, 4 speaking roles, Coro SATTBB, 2 Fl/Pic, 2 Ob, 2 Clt, 2 CdB, 2 Fg, 2 Cor, 2 Tr, 3 Trb, Timp, Str d’a, 2 Vl, Va, Vc, Cb | 18 Soli, 4 speaking roles, Coro SATTBB, Fl/Pic, Ob, Clt, Fg, Cor, [Tr, Timp], Str d’a, 2 Vl, Va, Vc, Cb |
Contents
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Composer
Wolfgang Amadeus Mozart
| 1756-1791As the son of the deputy Kapellmeister to the Salzburg Prince-Archbishop, Mozart was constantly surrounded by church music in his youth. On his travels Mozart became familiar with Italian church music, and later in Vienna he studied the works of Bach and Handel. After moving to Vienna he was faced with the new challenges of composing opera and piano concertos, and significantly the “C Minor Mass” KV 427, the greatest sacred work of the first Vienna years, remained unfinished. The last period of his life again shows a change of direction to church music: Mozart successfully applied to succeed the terminally ill Leopold Hoffmann as Kapellmeister at St Stephen's Cathedral, but he was unable to take up the position as he died before Hoffmann. A gem such as the “Ave verum” KV 618 and the incomplete Requiem KV 626 give us an idea of what Mozart might have achieved as a composer of sacred music if he had taken up this important position. Personal details
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Songwriter / Librettist
Emanuel Schikaneder
| 1751-1812Emanuel Schikaneder was an actor, singer, director and poet, among other things. He had been travelling around Europe as an actor since his twenties. In Salzburg in 1780, he enjoyed his first successes as a librettist and director. It was also there that he made the acquaintance of Leopold Mozart and his son Wolfgang. Schikaneder and Wolfgang Amadeus Mozart met again in Vienna in 1789. In 1791, Schikaneder wrote the libretto for The Magic Flute, to which Mozart then contributed the music. Schikaneder himself played the first Papageno. Personal details
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Arranger
Urs Stäuble
| 1951Urs Stäuble studied at the Conservatory of the Music Academy in Basel (organ with Eduard Müller, piano with Klaus Linder) and at the University of Music in Vienna (organ with Michael Radulescu, orchestral conducting with Karl Österreicher, choral conducting with Günther Theuring). In addition to teaching at the Basel Music Academy (1980–2016), he worked as an organist and choir and orchestra conductor in various European countries and Australia. Personal details
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