Il Trittico, Turandot, and Puccini's Late Style
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BeschreibungGiacomo Puccini is one of the most frequently performed and best loved ofall operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, AndrewDavis takes on the subject of Puccini's last two works to better understand how thecomposer creates meaning through the juxtaposition of the conventional and theunfamiliar -- situating Puccini in past operatic traditions and modern Europeanmusical theater. Davis asserts that hearing Puccini's late works within the contextof la solita forma allows listeners to interpret the composer's expressivestrategies. He examines Puccini's compositional language, with insightful analysesof melody, orchestration, harmony, voice-leading, and rhythm and meter.
InhaltsverzeichnisAcknowledgments; Note on Scores, Librettos, and Translations Introduction: Hearing Puccini; 1. Stylistic Plurality, Narrative, Levels of Discourse, and Voice; 2. The Romantic Style in Late Puccini; 3. Expressive Uses of Convention in Il tabarro; 4. Formal Multivalence in Suor Angelica; 5. Humor and Filmic Effects in the Structure of Gianni Schicchi; 6. Puccini's Solution: Integrating the Conventional and Unconventional; Epilogue: Late Style and Puccini Notes; Bibliography; Index
PortraitAndrew Davis is Associate Professor of Music Theory and Director of Graduate Studies at the University of Houston Moores School of Music.
PressestimmenIn this expertly written study, Davis defines the core quality of Giacomo Puccini's last four operas as a plurality of styles employed strategically toward formal and expressive ends. His conclusion--that Puccini's late style is essentially episodic, relying for its greatest impact on the juxtaposition of a traditional lyric, primarily vocal style (familiar to the audience of Puccini's day) and a more modern, international style--resonates in particular in reference to the organizing schemata of 19th-century Italian opera known as la solita forma. Davis lays out his theories in chapters devoted to each of Puccini's last four works. Absent an extensive knowledge of these operas, readers will want to have at hand a score to locate the many references cited in order to appreciate the full import and elegance of Davis's theories. Potentially contentious questions of composer's intent and audience reception are dealt with in sophisticated and convincing ways, as is the extent to which Puccini's personal life influenced his late style. Conversant in a wide range of disciplines, Davis has contributed an important addition to the field of Puccini studies and 19th-century Italian opera literature. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. -- ChoiceS. C. Champagne, Oberlin College Conservatory of Music, May 2011--S. C. Champagne, Oberlin College Conservatory of Music (01/01/2011)
Untertitel: Sprache: Englisch.
Verlag: INDIANA UNIV PR
Erscheinungsdatum: September 2010
Seitenanzahl: 309 Seiten