Joseph Martin Kraus (1756−1792)

Soliman II (Soliman den Andra; De tre Sultaninnorna) [Soliman II (or Soliman the Second; The Three Sultanas)]

VB 22

Print
  • Year of composition: Stockholm 1788 (according to van Boer)
  • Work category: Opera
  • Text author: Charles Simon Favart (after the tale by Jean-François Marmontel). Trans. by Johan Gabriel Oxenstierna.
  • First performed: Bollhuset [The Ball House Theatre, i.e., the Royal Dramatic Theatre], Stockholm, on 22nd September 1789. According to Klas Ralf’s ’Kungliga Teatern 1773-1973’ [The Royal Theatre 1773-1973] (Stockholm, 1974), this work was also performed at the Royal Opera and at the Arsenalsteatern (i.e., the theatre located in the Makalös Palace [i.e., the De la Gardie Palace]) in Stockholm. (According to van Boer, this work had been performed in its entirety already on 15 May, 1788, by students at the Royal Swedish Academy of Music, on the occasion of the birthday celebrations of Queen Sofia Magdalena. It is not, however, certain that the music was by Kraus.]
  • Duration: Approx. 120-180 min
  • Detailed duration: 135' according to the live broadcast of the Sveriges Radio from the Drottningholm Palace Theatre on 3rd June, 1989

Instrumentation

2*.2.2.2 / 2.0.0.0 / perc (cont) / str
(2 picc)
perc: trgl, cymb, sn dr, bass dr, tambourine
According to van Boer also mandola (in no. 4), mandolin/cither [cittern] (in no. 4a)
The score in manuscript comprises: Canto, Oboi, Fagotti, Corni in C, Violini, Viola, Violoncelli, Bass

Solo voices/choir

Delia (soprano)
Muftin [The Mufti] (bass)
Roxelane (soprano)
En dervisch [A Dervish] (tenor)
Elmire (spoken part)
Soliman (spoken part)
Osmin (spoken part)

Solo voices: 2 sopranos (Delia, Roxelane), 1 tenor (En Dervisch [A Dervish]), 1 bass (Muftin [The Mufti])
Spoken parts: 1 woman (Elmire), 2 men (Soliman, Osmin)
Kvinnor, Präster, Dervischer, Franker, Turkar [Women, Priests, Frenchmen, Turks]
Female choir (S.S.), Male choir (T.T.B.B.), Mixed choir (S.S.T.B.)


According to the libretto:
Soliman den Andra, med tilnamn af den präktige, Turkisk Kejsare [Soliman II, called ’The Splendid’, Turkish Emperor (Sultan)]
Osmin, Kislar Aga, or Chef af Seraillen [Head of the seraglio]
Elmire, en spanska [a Spanish woman]
Delia, en Circasinna [a Circassian woman]
Roxelane, en Fransyska [a French woman]
Svarta Eunuquer [Black Eunuchs]
Bostagis
Dumbar och Andra Slafvar af Seraillen [Dumb Servants and other Slaves of the seraglio]

Examples of printed editions

Musikaliskt tidsfördrif (1792) [includes Nos. 1, 5, 10, and 15 according to van Boer]

Location for score and part material

Handwritten piano-vocal score exists at the Musik- och teaterbiblioteket.

  • Location autograph: Musik- och teaterbiblioteket
  • Possible call no. and autograph comment: According to van Boer the autograph exists at the library of the Royal Opera: Operettor S 8 Soliman II J. K. 1788

Literature

van Boer Jr, Bertil H: Die Werke von Joseph Martin Kraus. Systematisch-thematisches Werkverzeichnis, the Royal Swedish Academy of Music series no. 56, Stockholm (1988); an updated edition in English with a partly revised VB-numbering was published in 1998 by Pendragon Press under the title Joseph Martin Kraus. A Systematic-Thematic Catalogue of His Musical Works and Source Study (the numbering of this work is however unchanged).

Description of work

The plot is set in Constantinople, in the Sultan’s Seraglio (Palace)

Overture (no tempo marking) D major alla breve

Act I
The stage represents a large room in the inner part of the seraglio.
Scene no. 1: Soliman enters, followed by Osmin. Soliman, Osmin
Scene no. 2: Osmin
Scene no. 3: Soliman, Elmir, Osmin, and a large number of slaves carrying Welsh dressers, stay at the back of the stage. Soliman, Elmir, Osmin, Slavar
Scene no. 4: Soliman, Osmin
Scene no. 5: Elmir, Soliman, Osmin
Scene no. 6: Soliman, Elmir
Scene no. 7: Soliman and Elmir sit on the divan as Delia and the women of the seraglio enter. One of the women dance. Delia kneels on one knee in front of the Sultan. Elmir leaves. Delia, Soliman, Elmir, Fruntimmer [Women]
Scene no. 8: Soliman does not notice Elmir’s exit, his eyes are fixed on Delia. Soliman, Delia
Scene no. 9: Soliman, Osmin, Delia
Scene no. 10: Roxelane, Soliman, Osmin, Delia
Scene no. 11: Soliman, Delia, Osmin

Act II
Scene no. 1: Soliman enters, followed by a large number of slaves, one of whom carries a small table of gold on which another slave places a precious porcelain vessel; a third a bowl of gold, adorned with diamonds; a fourth porcelain cups and a rather precious spoon made from an Indian bird’s beak, more red than coral. When Soliman has placed himself on the divan, a fifth slave hands him a lit tobacco pipe. On Soliman’s hand signal, the slaves leave. Soliman smokes. Soliman, Slavar [Slaves]
Scene no. 2: Soliman, Osmin
Scene no. 3: Roxelane, Soliman, Osmin
Scene no. 4: Soliman, Roxelan, Osmin
Scene no. 5: Roxelane, Soliman
Scene no. 6: Soliman, Roxelane, Osmin
Scene no. 7: Eight black slaves enter, in silence preparing a Turkish meal. They place four cushions around a silver table. Roxelane, Osmin, Slavar [Slaves]
Scene no. 8: (Roxelane mentions the Mufti.) Roxelane, Slavar [Slaves] (Osmin)
Scene no. 9: Osmin, Roxelane
Scene no. 10: Elmir, Osmin
Scene no. 11: Roxelane has changes her clothes, looking splendid. She notices Elmir and Osmin speaking in confidence, approaches them and secretely listens to what they are say. Elmir, Roxelane, Osmin
Scene no. 12: Roxelane, Elmir
Scene no. 13: Twelve Eunuchs of Has-oda (approx. Privy Chamber), bring chairs and a table set in the European style. The Kilargi Bachi (Prime Cellar Master) places a cooling bowl containing a crystal bottle of wine on the ground. Simultaneously, a large crystal chandelier with hanging oyster eggs is lowered from the ceiling. Roxelane, Elmir, Delia, Eunucker [Eunuchs], Överkällarmästaren [Prime Cellar Master]
Scene no. 14: Soliman sits down in the armchair, with Elmir to his right and Delia to his left, with Roxelane close to her. All the Sultan’s servants are standing around the table. The musicians of the seraglio enter singing. Soliman and Elmer sit down on the divan, with Roxelane and Delia right across. Ballets by several nationalities, Spaniards, Circassians, and French shepherds and shepherdesses. Roxelane stands up, takes a harp from one of the musicians and starts to sing to her own accompaniment. Elmir dances to Turkish music, first in a quick tempo, then more slowly. Roxelane and Delia sing. Roxelane is then removed by four black slaves as she gives Soliman a noble glance, displaying her calm composure. Delia shyly exits. All on the stage leave in haste, with the exception of Elmir and Osmin. Soliman, Roxelane, Elmir, Delia, Osmin, Slavar [Slaves], Musikanter [Musicians], Spanjorer [Spaniards], Cirkasser (Tjerkesser) [Circassians], Franska herdar och herdinnor [French shepherds and shepherdesses]
Scene no. 15: Soliman, Elmir, Osmin

Act III
Scene no. 1: Elmir
Scene no. 2: Elmir, Soliman, Osmin
Scene no. 3: Soliman notices Roxelane dressed as a lowly slave. She approaches slowly, hiding her face in her hand. Soliman, Elmir, Roxelane
Scene no. 4: Soliman kisses Elmir’s hand, watching Roxelane to find out her thoughts. Roxelane removes her hand so that she may look at the Sultan, and their eyes meet. Roxelane smiles. Soliman is surprised. Elmir leaves. Soliman, Elmir, Roxelane
Scene no. 5: Soliman, Roxelane
Scene no. 6: Soliman, Osmin
Scene no. 7: A dumb servant hands Soliman a letter from Elmir. Having read the letter, Soliman claps his hands and the Black servants, Dubarne, and Bostangis enter. Having received his orders, Bostangis leaves to carry them out. Soliman, Slavar [Slaves]
Scene no. 8: Soliman, Osmin
Scene no. 9: Soliman, Roxelane
Scene no. 10: Divertissement. The stage represents a splendid hall in the seraglio. Soliman and Roxelane sit on the throne and the principals of the seraglio and the realm come to pay them their respect. Dance of Dervishes. They start with a slow aria of flutes and drums, accelerate the music until they fall in rapture. The Dervishes start dancing again. The Odalisques and the Slaves of the seraglio of both genders dance in figures. Male and female Turkish Jesters perform a mime in Turkish style. The crowning of Roxelane. General contra dances, during which the Frenchmen sing. The Turks sing "Eyuvallah, eyuvallah, Salem alekim" [approx. Glory, glory, bliss]; Soliman, Roxelane, Osmin, The Mufti, Serrailens slafvar af bägge könen [the Slaves of the seraglio of both genders], Dervischer [Dervishes], Odalisker [Odalisques; i.e., female slaves in a sultan’s harem], Turkiska gycklare och gycklarinnor [Turkish male and female Jesters], Franker [Frenchmen]
The end.


*

[Accoring to Oxenstierna’s transcription; No . 1 etc according to van Boer]

Act I
Overture (no tempo marking) D major alla breve
Scene No. 7 (No. 1): Delia, Soliman, Elmir

Act II
Scene No. 14 (No. 3): Soliman, Roxelana, Elmir, Delia, Osmin, Musikanter [Musicians]
Dans af Elmir (No. 5): Vivace B minor 2/4

Act III
Divertimento Finale
Marcia de' Sciavi (No. 7): Andante D major 4/4 (C)
Marcia de' Giannizzari (No. 8): Allegro A major 4/4 (C)
Marcia de' Dervis (No. 9): Allegretto D major 4/4 (C)
Marcia di Sultano (No. 10): Allegretto Maestoso D major 4/4 (C)
Marcia di Roxelana (No. 11): Andantino A major 4/4 (C)
Chor af Präster [Choir of Priests] (No. 13): Präster [Priests]
Chor af Dervischer [Choir of Dervishes] (No. 15): Dervischer [Dervishes]
La Coronazione (No. 17): Larghetto D major 3/4
Chor af Franker och Turkar [Choir of Frenchmen and Turks] (No. 22): Franker, Turkar [Frenchmen, Turks]


Work comment

According to van Boer, this opera is considered the most succesful of Kraus's stage works, although Abraham Niclas Clewberg-Edelcrantz [member of the Royal Swedish Academy of Music, later director of the Hovkapellet, i.e., the Orchestra of the Royal Swedish Opera] complained about the length of the Finale.


Libretto/text

Act I

No. 1 (Aria): Stundom du bland vapnen ilar (Delia)

No. 2 (Aria): Var, älskare, som västanvädret är (Delia)

 

Act II

No. 3 (Chorus): Med myrten och lager Du ömsom bekrönt (Kvinnor [Women])

No. 4 (Aria): I som föragten [sic] krigets fara (Roxelane)
[No. 4a Ballet (instrumental): Allegro vivace F major 2/4; substitute for No. 4 at the premiere at the Royal Dramatic Theatre, according to van Boer]  

No. 5 (Dans [Dance] di Elmire; instrumental): Vivace B minor 2/4

No. 6 (Duet): Lifva med en blick de lekar (Delia, Roxelane)

 

Act III (according to Oxenstierna)

Divertimento Finale

No. 7 Marcia de Sciavi [sic] (instrumental): Andante D major 4/4 (C)

No. 8 Marcia de Giannizzari (instrumental): Allegro A major 4/4 (C)
[According to van Boer, No. 7 and No. 8 appear in reverse order compared to Oxenstierna's transcritption; see more below]

No. 9 Marcia di Dervis (instrumental): Allegretto D major 4/4 (C)

No. 10 Marcia di Sultano (instrumental): Allegro [Allegretto] Maestoso D major 4/4 (C)

No. 11 Marcia de Roxelane (instrumental): Andantino A major 4/4 (C)

No. 12 (Aria): O Mahomet, som rikens öde väger (Muftin [The Mufti])

No. 13 (Chorus): O Mahomet, som rikens öde väger (Präster [Priests])

No. 14 (Aria): O du, som vårens tekning [sic] lär (Muftin [The Mufti]) 

No. 15 (Chorus): Kärlek och nöje krön vår Sultaninna (Dervisher [Dervishes])

No. 16 (Aria [Arietta according to van Boer]): Du som vår dyrkan vunnit (Muftin [The Mufti])

No. 17 La Coronazione (instrumental): Larghetto D major 3/4

No. 18 La Strombettata (instrumental): Andante con moto A major alla breve

No. 19 Ballet (instrumental): Allegro D major 2/4

No. 20 Con Alterezza (instrumental): Con alterezza B minor 3/4

No. 21 Ballet (instrumental): Andante B minor 3/4

No. 22 Coro Finale: Eyuvallah, Eyuvallah, Eyuvallah, Salem Alekim (Frenchmen, Turks)

[Appendix: Ballet (instrumental): Allegretto vivace F major 2/4; see No. 4a above]

 

Act III (according to van Boer)

Divertissement

No. 7 Janitsjarernas marsch [March of the Janissaries (i.e., elite soldiers)] (instrumental): Tempo di marcia A major alla breve

No. 8 Slavarnas marsch [March of the Slaves] (instrumental): Andante D-dur 4/4 (C)

No. 9 Dervischernas marsch [March of the Dervishes] (instrumental): Allegretto D-dur 4/4 (C)

No. 10 Sultanens marsch [March of the Sultan] (instrumental): Allegro maestoso D-dur 4/4 (C)

No. 11 Roxelanes marsch [Roxelane's March] (instrumental): Andantino A-dur 4/4 (C)

No. 12 Aria: O Mahomet, som rikens öde väger (Muftin [The Mufti])

No. 13 Chorus: O Mahomet, som rikens öde väger (Präster [Priests])

No. 14 Aria: O du, som vårens tekning [sic] bär (Muftin [The Mufti])

No. 15 Chorus: Kärlek och nöje krön vår Sultaninna (Dervischer [Dervishes])

No. 16 Arietta: Som när af en gynnande väder (En Dervisch [A Dervish])

No. 17 Chorus: Kärlek och nöje krön vår Sultaninna (Dervischer [Dervishes])

No. 18 Aria: Du som vår dyrkan vunnit, O skönhet (Muftin [The Mufti])

No. 19 La Coronazione (instrumental): Larghetto D major 3/4

No. 20 La Strombettata (ballet, instrumental): Andante con moto A major alla breve

No. 21 Ballet (instrumental): Allegro D major 2/4

No. 22 Ballet (instrumental): Con alterezza D majorr 3/4

No. 23 Ballet (instrumental): Andante G major 3/4

No. 24 Chorus: Eyuvallah, Eyuvallah, Eyuvallah, Salem Alekim (Frenchmen, Turks)