Christian world, colored by the particular history of postmedieval Freema-
sonry, but applicable to others as well.” A further layer has a Jungian base:
Pamina is Tamino’s “anima,” and Monostatos is Papageno’s (and/or Saras-
tro/s) “shadow,” while the story as a whole is a search for “individuation.”
Sarastro is the archetype of the wise man, a symbol of the integrated self.- Horwath, Peter. “Symbolism in Die Zauberflöte: Origin and Background of
the Symbolism of ‘Sevenfold,’ ‘Mighty,’ and ‘All-Consuming Sun Disk.’” OQ
8-3 (Autumn 1991): 58–86.
A useful discussion of Viennese Masonic history, which emphasized male supe-
riority over women, mixed with fear of women’s wiles. The septagram refers to
the Grand Lodge of Austria (there were seven regional lodges). The dying
king’s bequest of the sun disk to Sarastro signifies his relinquishment of
absolute power—or the yielding of secular to spiritual power. With 67 foot-
notes to the relevant literature. - Waldoff, Jessica. “The Music of Recognition: Operatic Enlightenment in The
Magic Flute.” M&L 75 (1994): 214–235.
Recognition scenes are frequent in 18th-century opera (indeed, in all opera).
They develop a new awareness in the minds of the protagonist, as per Aristo-
tle’s Poetics. This opera is about light and dark: movement toward the light of
knowledge. The recognition scene occurs in the finale to act 1 (number 8), as
Tamino converses with the priest. [It may be noted that this “recognition”
comes too early in the work to be Aristotelian. And is Tamino the protago-
nist?] - Witzenmann, Wolfgang. “Zu einigen Handschriften des Flauto magico.” In
“Colloquium” (#1262), 55–95.
Manuscripts of the Italian version of the opera cast some light on the slow
reception of Die Zauberflöte in Italy. Witzenmann examines the Italian sources
in Dresden, Milan, Naples, Florence, and Rome and compares them to the
published Italian libretti of 1794 and 1816. Three Italian translations are also
compared. A major concern in Italy was the spoken dialogue in the opera,
which was modified to accompanied recitative for performance there, as late
as the 20th century. All the sources are described in great bibliographic detail
with references to the total literature in 118 footnotes.
See also Moberly (#1287), Heartz (#1296), and Brown (#1313).
Thea Musgrave (1928–)
- Hixon, Donald. Thea Musgrave: A Bio-Bibliography.Bio-Bibliographies in
Music, 1. Westport, Conn.: Greenwood, 1984. 187p. ISBN 0-313-23708-5.
ML134 .M967 H6.
An annotated bibliography that includes several hundred reviews and notices
of Mary Queen of Scots, The Decision,and The Voice of Ariadne.
258 Opera