The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera

Description

In this groundbreaking survey of the fundamentals, methods, and formulas that were taught at Italian music conservatories during the 19th century, Nicholas Baragwanath explores the compositional significance of tradition in Rossini, Bellini, Donizetti, Verdi, Boito, and, most importantly, Puccini. Taking account of some 400 primary sources, Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. The Italian Traditions and Puccini offers a guide to an informed interpretation and appreciation of Italian opera by underscoring the proximity of archaic traditions to the music of Puccini. Cover......Page 1 Contents......Page 8 Preface & Acknowledgments......Page 10 A Note on Translation and Terminology......Page 18 I. The Italian Schools......Page 26 II. An Introduction to the Primary Sources......Page 28 III. Puccini and the End of the Great Tradition......Page 59 I. Composition as Craft......Page 66 II. The Istituto musicale in Lucca......Page 74 III. Scarpia and the Partimento Cadence......Page 81 IV. The Conservatorio di Milano......Page 85 I. Rhythm without Measure, Accent without Beat......Page 91 II. Rules of Versification, Lippmann’s Rhythmic-Musical Types, and Two Case Studies......Page 100 III. Historical Survey of Writings on Ritmo......Page 114 IV. Short Case Studies from Bellini and Puccini......Page 150 I. The Partimento Tradition......Page 165 II. Michele Puccini’s Corso pratico di contrappunto (1846)......Page 189 III. The Bolognese Attachment, or “Little Keys for Winding Clocks”......Page 192 IV. Regular Motions and Melodic Composition......Page 206 I. Dominant Affects and Their Movements......Page 215 II. Physical and Sentimental Imitation......Page 219 III. Form and Conduct......Page 228 IV. Case Studies from Verdi, Boito, and Puccini......Page 257 I. Lessons in Singing and Counterpoint......Page 281 II. Lessons in Singing and Solfeggio......Page 288 III. From Solfeggio to Ideal Compositionin Puccini (and Bellini)......Page 293 Notes......Page 338 Bibliography......Page 380 Index of Concepts......Page 418 Index of Names and Works......Page 424