The Magic Flute, Op. 40 by W.A. Mozart
Composed by Antoine de Lhoyer (1768-1852)
For flute (or violin), viola, and guitar
Edited by Andrea Forderreuther
Published by Doblinger
Parts can be found here.
Terzetto – Soll ich dich Teurer nicht mehr sehn? (Pamina, Tamino, Sarastro)
Aria – Dies Bildnis ist bezaubernd schon (Tamino)
Aria – Ach, ich fuhl's (Pamina)
Duetto – Bei Mannern, welche Liebe fuhlen (Pamina, Papageno)
Terzetto – Du feines Taubchen nur herein (Pamina, Monostatos, Papageno)
Aria – Alles fuhlt der Liebe Freuden (Monostatos)
Wie stark ist nicht dein Zauberton (Tamino)
Der Vogelfanger bin ich ja (Papageno)
Aria – In diesen heil'gen Hallen kennt man die Rache night! (Sarastro)
Aria – Ein Madchen oder Weibchen wunscht Papageno sich! (Papageno)
Quintetto – Hm! Hm! Hm! (Drei Damen, Tamino, Papageno)
For his adaptation Lhoyer chose 13 numbers from the opera including the overture and some of the best-known arias. What sources he had at his disposal for his task is not known; perhaps the score he used was defective. Interestingly he totally omits the Queen of the Night, but we do meet Pamina, Tamino, Papageno, Sarastro and Monostatos. The sequence of movements does not adhere to the opera's action. The keys of nos. 4, 6, 7, 8, 9, 11 and 12 are the original keys. Mozart's keys using flats were transposed: the overture's E-flat major to D major, the B-flat major of the Hm! Hm! Hm! quintet to A major.
According to Lhoyer's intentions a performance with singers was possible; the necessary lyrics, however, he does not include. (Our score includes the lyrics in order to provide the context and to inspire the players' imaginations). His claim to “have conserved Mozart's intentions with exactitude” I cannot endorse unconditionally; his interventions, variations and modifications are too drastic after all.
I have compared Lhoyer's version with Mozart's original score and have at some points reverted to the original in the case of adulterated harmonies, modified articulations, missing dynamics or omitted measures. Misprints have been silently corrected. The violin part is excellently suited also for the flute with only minimal adaptation; a “Magic Flute” being, after all, hardly imaginable without this instrument. A serious change in the overture consists in Lhoyer's simplification of the fugue theme for the guitar (bars 27, 33, 34, 41, 42 etc.). The choice between the original semiquavers or the admittedly much easier version by Lhoyer is up to each individual player.
Lhoyer composed 3 variations for Papageno's famous aria “Der Vogelfanger bin ich ja”: one for each instrument – and a rousing finale. He also used the variation principle in the movement “Ein Madchen oder Weibchen wunscht Papageno sich”. The quintet “Hm! Hm! Hm!” meets with a premature end in Lhoyer. The original conclusion with the 3 genii was added by me as an alternative. This seemed to be indicated also at the end of “Ach, ich fuhl's, es ist verschwunden!”; here I added Mozart's instrumental coda.
May all musicians find much delight in this practical edition!
– Andrea Forderreuther