
[Italian, from Vulgar Latin *pastīcium, pasty. See patisserie.]
A dramatic or sacred work whose parts are wholly or partly taken from existing works by various composers (it should not be confused with collaborative works; an essential feature is the borrowing of individual parts). Operatic pasticcio arose in the early 18th century primarily because impresarios wanted to gain public approval by offering favourite pieces, while itinerant singers found it convenient to appear before new audiences with proven successes. The practice reached a highpoint c 1750. Important composers (e.g. Handel, Keiser and Vivaldi) arranged pasticcios only when they were acting as impresarios.
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