Tempo in the soprano arias of Puccini's La Bohème, Tosca, and Madama Butterfly
著者
書誌事項
Tempo in the soprano arias of Puccini's La Bohème, Tosca, and Madama Butterfly
（Studies in the history and interpretation of music, v. 87）
Edwin Mellen Press, c2002
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注記
Includes bibliographical references (p. [197]-201), discography (p. [203]-207), and index
内容説明・目次
内容説明
This book seeks to establish the originally intended tempos for the soprano arias in those operas. By Examining Puccini's autographs, the first edition vocal scores, and many early recordings-especially those by the sopranos or conductors who worked with the composer or performed the arias during Puccini's lifetime-the author demonstrates that one can discover tempos for the arias that conform better than others to Puccini's musical and dramatic intentions. A living performance, one that resonates best with the soul of the music, requires a faithful interpretation of the composer's score. This is as true of performances of Puccini's operas as it is for renditions of Beethoven's symphonies and Bach's cantatas. Interpretation of the composer's score is always necessary because the score itself can never include indications of every detail and nuance required for a living performance. Instead, scores are really only approximations, more or less incomplete and imprecise, of the composer's intentions. The composer, consciously or not, always depends upon commonly understood conventions, which together with the notation add up to the intention, the musical work, more or less.
Faithful interpretation must include unnotated intentions, which can only be reconstructed through a study of period performance conventions. But this reconstruction can only begin once the meanings of all the notations have been discovered and understood. These are the principles that guide "historically informed performance," the ideal and objective of the "early music movement." The products of the early music movement are heard every day on fine-arts FM stations, in the form of recordings on period, or "authentic," musical instruments. Recordings of this type now comprise 70 percent of classical music CD sales worldwide! It is called the "early music movement" because it began with medieval and Renaissance music, from which it quickly spread to the Baroque, especially the pre-Bach Baroque. The name stuck, in part, because "early music" came to be understood as "music that is earlier than the repertoire that has had a continuous performance tradition since its creation." The idea here was that the performance traditions of "early music" had to be reconstructed through historical research
目次
Preface by Professor John Walter Hill i Foreword v Acknowledgments ix 1. Introduction 1 The Delightful Problem 1 How a Puccini Melody Unfurls: Primary Sources 2 "The Ten Rules of Puccini" 6 Puccini's Neglected Metronome Markings 9 Further Travesties of Tempo 14 Technology's Needs Are More Important Than Art - Aren't They? 15 The Delightful Problem, Compounded 17 Problems of Tempo in the Soprano Arias of La Boheme Introduction 21 2. "Si. Mi chiamano Mimi" 23 Overview 24 Analysis of Tempo Markings and Modifications 25 Luigi Ricci's Rehearsal Notes 27 Puccini's Autograph 30 Early Recordings of "Si. Mi chiamano Mimi" 31 Cesira Ferrani - Gemma Bellincioni - Claudia Muzio - Geraldine Farrar - Gabrielle Ritter-Ciampi - Delia Reinhardt - Zinaida Jurjewskaya - Maria Cebotari - Grace Moore - Rosetta Pampanini - Licia Albanese So Where Has This Got Us in Terms of Arriving at Performance Criteria? 49 3. "Quando me'n vo'" 55 Overview 56 Analysis of Tempo Markings and Modifications 56 Luigi Ricci's Rehearsal Notes 60 Puccini's Autograph 61 Early Recordings of "Quando me'n vo'" 61 Luisa Bresonier - Gina Viafora - Irene Pavlovska - Alma Gluck - Maria Kurenko - Maria Jeritza - Conchita Supervia - Bidu Sayao - Tatiana Menotti - Anne McKnight - Lucine Amara So Where Has This Got Us in Terms of Arriving at Performance Criteria? 71 4. "Donde lieta usci" 75 Overview 76 Analysis of Tempo Markings and Modifications 79 Luigi Ricci's Rehearsal Notes 81 Puccini's Autograph 83 Early Recordings of "Donde lieta usci" 84 Cesira Ferrani - Nellie Melba - Selma Kurz - Alma Gluck - Frances Alda - Hina Spani - Grace Moore - Magda Olivero - Molajoli (with Muzio) - Beecham (with Perli) - Berrettoni (with Albanese) - Toscanini (with Albanese) - Beecham (with Los Angeles) Summary 96 So Where Has This Got Us in Terms of Arriving at Performance Criteria? 98 Problems of Tempo in the Soprano Arias of Tosca Introduction 103 5. "Non la sospiri la nostra casetta" 105 Overview 106 Analysis of Tempo Markings and Modifications 106 Luigi Ricci's Rehearsal Notes 107 An Early Recording of "Non la sospiri la nostra casetta" 110 Geraldine Farrar Criteria for Deciding on the Tempos 111 6. "Vissi d'arte, vissi d'amore" 113 Overview 114 Analysis of Tempo Markings and Modifications 115 Luigi Ricci's Rehearsal Notes 116 Early Recordings of "Vissi d'arte, vissi d'amore" 119 Medea Mei-Figner - Salomea Kruszelnicka - Emma Eames - Emma Carelli - Elda Cavalieri - Nellie Melba - Geraldine Farrar - Nellie Melba - Emmy Destinn - Selma Kurz - Maria Jeritza - Frances Alda - Claudia Muzio - Rosa Ponselle - Marie-Louise Edvina - Hertha Stolzenberg - Helene Wildbrunn - Berta Kiurina Summary 129 So Where Has This Got Us in Terms of Arriving at Performance Criteria? 131 Problems of Tempo in the Soprano Arias of Madama Butterfly Introduction 135 7. "Ancora un passo" 137 Overview 138 Analysis of Tempo Markings and Modifications 138 Luigi Ricci's Rehearsal Notes 139 Early Recordings of "Ancora un passo" 140 Geraldine Farrar Criteria for Deciding on the Tempos 142 8. "Ieri son salita" 145 Overview 146 Analysis of Tempo Markings and Modifications 146 Luigi Ricci's Rehearsal Notes 147 Early Recordings of "Ieri son salita" 148 Geraldine Farrar Criteria for Deciding on the Tempos 149 9. "Un bel di vedremo" 151 Overview 152
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