Pub Date : 2023-03-30DOI: 10.1017/s1479409823000095
F. Morabito
{"title":"Ludwig van Beethoven, Trio in B-flat major for Pianoforte, Violin and Violoncello, op. 97 ‘Archduke’. Bärenreiter Urtext, edited by Jonathan Del Mar (Kassel: Bärenreiter, 2022). BA10942. € 34,95.","authors":"F. Morabito","doi":"10.1017/s1479409823000095","DOIUrl":"https://doi.org/10.1017/s1479409823000095","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46691312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-30DOI: 10.1017/s1479409823000113
David Manning
{"title":"Antonín Dvořák, Nocturne in B major for String Orchestra, Op. 40, Urtext. Edited by Jonáš Hájek, Preface by David R. Beveridge (Kassel: Bärenreiter, 2022). Score and Parts BA 11564, x + 9 pp.","authors":"David Manning","doi":"10.1017/s1479409823000113","DOIUrl":"https://doi.org/10.1017/s1479409823000113","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47006548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-29DOI: 10.1017/S1479409823000083
Martin V. Clarke
{"title":"Eftychia Papanikolaou and Markus Rathey, eds, Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall (Lanham: Lexington Books, 2022). viii + 429 pp. $135.00.","authors":"Martin V. Clarke","doi":"10.1017/S1479409823000083","DOIUrl":"https://doi.org/10.1017/S1479409823000083","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49378402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-15DOI: 10.1017/s1479409823000022
Sio Pan Leong
Schubert's interest in Gothicism is explored in numerous songs written between the 1810s and early 1820s and, in recent years, has served as an aesthetic agenda that some scholars have applied to his instrumental music. One notable exception is the ‘Unfinished’ Symphony (D. 759, 1822), a work whose thematic presentation and form have been frequently related to states of terror and horror, but rarely correlated further to Gothicism and never consistently so across the two completed movements. In light of this relative neglect, this article offers a Gothic reading of the symphony, finding correspondence with Gothic signifiers of ghostly hauntings and the ‘problem of closure’, and draws upon relevant literary criticism and psychoanalytic theory. As I show, the concept of psychoanalytic trauma – a concept widely deployed in current literary criticism to scrutinize repetitive patterns such as hauntings and circular temporality in Gothic literature – is especially instructive in terms of helping construct a richer understanding of the symphony.
{"title":"Recurring Hauntings and Trauma in Schubert's ‘Unfinished’ Symphony","authors":"Sio Pan Leong","doi":"10.1017/s1479409823000022","DOIUrl":"https://doi.org/10.1017/s1479409823000022","url":null,"abstract":"Schubert's interest in Gothicism is explored in numerous songs written between the 1810s and early 1820s and, in recent years, has served as an aesthetic agenda that some scholars have applied to his instrumental music. One notable exception is the ‘Unfinished’ Symphony (D. 759, 1822), a work whose thematic presentation and form have been frequently related to states of terror and horror, but rarely correlated further to Gothicism and never consistently so across the two completed movements. In light of this relative neglect, this article offers a Gothic reading of the symphony, finding correspondence with Gothic signifiers of ghostly hauntings and the ‘problem of closure’, and draws upon relevant literary criticism and psychoanalytic theory. As I show, the concept of psychoanalytic trauma – a concept widely deployed in current literary criticism to scrutinize repetitive patterns such as hauntings and circular temporality in Gothic literature – is especially instructive in terms of helping construct a richer understanding of the symphony.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41613071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-13DOI: 10.1017/s1479409822000520
F. Izzo
Giuseppe Verdi's first French opera, Jérusalem (1847), has often been described as a French version of his fourth opera, I lombardi alla prima crociata (1843). It is hardly a straightforward translation, however; the process of adapting the source to the French stage involved substantial rewriting of the libretto, thoroughly recasting the storyline and therefore requiring numerous changes in the music. Thus, Verdi not only provided several entirely new sections for the score of Jérusalem, but also reused material from I lombardi in radically different dramatic settings. The purpose of this article is to review changing attitudes toward Jérusalem through the twentieth century, and to assert that it may be perceived both as a reworking of the earlier opera and as a new work in which Verdi, under unique circumstances, deployed strategies of self-borrowing. The first part addresses the historiography of Jérusalem, tracing changing attitudes of commentators gradually recognizing the importance and worth of the French work, and the second part examines in detail the transfer of selected passages that Verdi borrowed from I lombardi and adapted to vastly changed contexts.
{"title":"Giuseppe Verdi's Jérusalem between Adaptation and Self-Borrowing","authors":"F. Izzo","doi":"10.1017/s1479409822000520","DOIUrl":"https://doi.org/10.1017/s1479409822000520","url":null,"abstract":"Giuseppe Verdi's first French opera, Jérusalem (1847), has often been described as a French version of his fourth opera, I lombardi alla prima crociata (1843). It is hardly a straightforward translation, however; the process of adapting the source to the French stage involved substantial rewriting of the libretto, thoroughly recasting the storyline and therefore requiring numerous changes in the music. Thus, Verdi not only provided several entirely new sections for the score of Jérusalem, but also reused material from I lombardi in radically different dramatic settings.\u0000 The purpose of this article is to review changing attitudes toward Jérusalem through the twentieth century, and to assert that it may be perceived both as a reworking of the earlier opera and as a new work in which Verdi, under unique circumstances, deployed strategies of self-borrowing. The first part addresses the historiography of Jérusalem, tracing changing attitudes of commentators gradually recognizing the importance and worth of the French work, and the second part examines in detail the transfer of selected passages that Verdi borrowed from I lombardi and adapted to vastly changed contexts.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48609458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-14DOI: 10.1017/s1479409822000519
R. Marvin
Self-borrowing was a common practice in primo ottocento opera. Even though commentators of the era could find it somewhat troublesome, composers indulged in the practice. Drawing on existing scholarship, and reflecting on the work of my co-contributors to this journal issue, I ponder a few sundry notions about the procedure and its context, addressing theoretical, historical and practical perspectives relating to composers, historical commentators, listeners and modern-day scholars. I begin with a survey of terminology that has been applied in discussions of self-borrowing and a review of the manner in which selected present-day scholars have characterized the practice. I then consider the nature of self-borrowing in the ottocento opera repertory against a backdrop of contemporaneous theoretical discussions about how to compose opera, and I contemplate the extent to which self-borrowings in this repertory can be deemed to bear meaning. I conclude by raising the possibility of applying concepts from cognitive theory to operatic encounters with self-borrowing, proposing that the practice served as a tool for composers to fuel expectation, predictability, anticipation and even surprise to enhance musical pleasure. My purpose is to prompt reflection on the reasons behind as well as an appreciation for the value of this oft-maligned compositional ‘tool’ in the interest of gaining insight into its impact on the listening experience and the evaluation of musical works.
{"title":"Musical Self-Borrowing in Ottocento Opera and the Composer's Toolbox","authors":"R. Marvin","doi":"10.1017/s1479409822000519","DOIUrl":"https://doi.org/10.1017/s1479409822000519","url":null,"abstract":"Self-borrowing was a common practice in primo ottocento opera. Even though commentators of the era could find it somewhat troublesome, composers indulged in the practice. Drawing on existing scholarship, and reflecting on the work of my co-contributors to this journal issue, I ponder a few sundry notions about the procedure and its context, addressing theoretical, historical and practical perspectives relating to composers, historical commentators, listeners and modern-day scholars. I begin with a survey of terminology that has been applied in discussions of self-borrowing and a review of the manner in which selected present-day scholars have characterized the practice. I then consider the nature of self-borrowing in the ottocento opera repertory against a backdrop of contemporaneous theoretical discussions about how to compose opera, and I contemplate the extent to which self-borrowings in this repertory can be deemed to bear meaning. I conclude by raising the possibility of applying concepts from cognitive theory to operatic encounters with self-borrowing, proposing that the practice served as a tool for composers to fuel expectation, predictability, anticipation and even surprise to enhance musical pleasure. My purpose is to prompt reflection on the reasons behind as well as an appreciation for the value of this oft-maligned compositional ‘tool’ in the interest of gaining insight into its impact on the listening experience and the evaluation of musical works.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41537963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-02DOI: 10.1017/s1479409822000532
Joao Martins
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{"title":"Clara Wieck Schumann: Art of Preluding Mo-Ah Kim <i>pf</i> CD Baby 2353004X, 2019 (1 CD: 35 minutes). $21.69 - Clara Schumann: Romance – The Piano Music of Clara Schumann Isata Kanneh-Mason <i>pf</i>, Jonathan Aasgaard <i>cond.</i> Royal Liverpool Philharmonic Orchestra Decca 4850020, 2019 (1 CD: 76 minutes), $13.95","authors":"Joao Martins","doi":"10.1017/s1479409822000532","DOIUrl":"https://doi.org/10.1017/s1479409822000532","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1017/s1479409822000490
Daniele Carnini
Between 1812 and 1816 Rossini took Italian stages by storm and performances cycles of his operas soared in an unprecedented way. The present essay investigates the fundamental role played by self-borrowing in this achievement. As it will be preliminarily clarified, at least for Rossini, self-borrowing does not represent a sub-category of borrowing (i.e. from others: he seldom resorted to other composers’ works), but a peculiar characteristic of his compositional habit, a weapon used to spread his signifiers throughout different stages and genres. This article focuses on a case study: La gazzetta, an opera deeply rooted in the tradition of the opera comica in Neapolitan, whose authoriality normally resided more in performers (in this case, in the well-known actor/singer Carlo Casaccia) than in poets or composers. Special attention will be given to the use of self-borrowings in some key pieces of the opera, including the recently rediscovered Act I quintet. The essay aims to demonstrate that self-borrowings, far from being a mere time-saving device, helped Rossini to overpower Casaccia's distinctive way of expression, depriving him of his authoriality and of his own voice. With La gazzetta, Rossini conquered the last outpost; after 1816, the mastery of Italian stages (and genres) belonged only to him.
{"title":"Rossini's Self-Borrowings as a Stylistic Weapon","authors":"Daniele Carnini","doi":"10.1017/s1479409822000490","DOIUrl":"https://doi.org/10.1017/s1479409822000490","url":null,"abstract":"Between 1812 and 1816 Rossini took Italian stages by storm and performances cycles of his operas soared in an unprecedented way. The present essay investigates the fundamental role played by self-borrowing in this achievement. As it will be preliminarily clarified, at least for Rossini, self-borrowing does not represent a sub-category of borrowing (i.e. from others: he seldom resorted to other composers’ works), but a peculiar characteristic of his compositional habit, a weapon used to spread his signifiers throughout different stages and genres.\u0000 This article focuses on a case study: La gazzetta, an opera deeply rooted in the tradition of the opera comica in Neapolitan, whose authoriality normally resided more in performers (in this case, in the well-known actor/singer Carlo Casaccia) than in poets or composers. Special attention will be given to the use of self-borrowings in some key pieces of the opera, including the recently rediscovered Act I quintet. The essay aims to demonstrate that self-borrowings, far from being a mere time-saving device, helped Rossini to overpower Casaccia's distinctive way of expression, depriving him of his authoriality and of his own voice. With La gazzetta, Rossini conquered the last outpost; after 1816, the mastery of Italian stages (and genres) belonged only to him.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49296056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.1017/s1479409822000507
A. Malnati
Self-borrowing and Rossini: music theatre scholars are well acquainted with this topic. Many publications have been dedicated to it, most of which concentrate on compositional-analytic aspects, the artistic and communicational nature of self-borrowing and its reception in nineteenth-century periodicals. At present, however, no study has attempted to question the relation between Rossini's self-borrowings and the critical edition of his works. This is the issue to which this contribution is dedicated. Beginning with the operating indications summarized by the editorial criteria provided for the Edizione critica delle opere di Gioachino Rossini – first published in 1974, and revised and updated in 2015 – this study compares the various methodological approaches adopted while preparing critical editions and dealing with the specific features of each passage in which self-borrowing appears. This comparison furthermore allows us to formulate a general overview of the entire editorial undertaking. This in turn will give us a glimpse of how principles such as the autograph's centrality and concepts such as authenticity and originality have often become problematic and have been put into question. Knowing that Rossini often rewrote the pieces he self-borrowed is fundamental for philologists working on the critical edition of his works. Decoding the modus operandi Rossini adopted in each case of self-borrowing is therefore equally important, and can help choose the sources closest to Rossini's idea of the self-borrowed pieces at the time of their reuse.
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Pub Date : 2023-01-23DOI: 10.1017/s147940982200043x
C. Mantica
Gaetano Donizetti's versatile production unfolded over three decades (1818–43) and was staged in the foremost Italian and European theatres. In this article I question his self-borrowing as a chiefly economic practice, offering novel keys to reading his re-use of existing materials. In the introductory section, I offer a preliminary discussion of the coeval discourse on Donizetti's self-imitation as it surfaces in the press, which appears to follow in the footsteps of that on Rossini's. I then look at his self-borrowings across genres, dwelling on the ways in which he re-functionalized earlier serious passages within comic frames, almost inevitably to achieve a parodic effect. After discussing the links between parody and diegetic music – one of his favourite contexts for employing older materials – I turn to Donizetti's serious production, advancing the hypothesis that his recourse to self-borrowing could take on semantic connotations. In so doing, in the second part of the article I focus on selected case studies grouped into three thematic areas, which – similarly to, and occasionally in connection with diegetic music – all involve the suspension of a character's habitual idioms: deception, rituals and madness. The article includes extended examples from the composer's Linda di Chamounix (Vienna, Kärntnertortheater, 1842), Sancia di Castiglia (Naples, Teatro San Carlo, 1832), Il paria (Naples, Teatro San Carlo, 1829), Marino Faliero (Paris, Théâtre-Italien, 1835), Enrico di Borgogna (Venice, Teatro San Luca, 1818), and Anna Bolena (Milan, Teatro Carcano, 1830). My ultimate concern is to demonstrate that Donizetti's use of self-borrowing could perform a dramatic function, deliberately connoting the altered modes of expression of the characters to which the earlier piece is associated.
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