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The Trumpet As a Musical and Dramatic Element in Selected Operas

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The Trumpet As a Musical and Dramatic Element in Selected Operas THE TRUMPET AS A MUSICAL AND DRAMATIC ELEMENT IN SELECTED OPERAS OF GIOACHINO ROSSINI AND GIUSEPPE VERDI: ITS EMPLOYMENT IN ON-STAGE AND OFF-STAGE INSTRUMENTAL ENSEMBLES, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J.G.B. NERUDA, P. HINDEMITH, G. ANTHEIL AND OTHERS Grant S. Peters, B. Mus. Ed., M. Mus. APPROVED: iva~rrP ofessor Minor Professor Committee Member Comli tee Member Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies THE TRUMPET AS A MUSICAL AND DRAMATIC ELEMENT IN SELECTED OPERAS OF GIOACHINO ROSSINI AND GIUSEPPE VERDI: ITS EMPLOYMENT IN ON-STAGE AND OFF-STAGE INSTRUMENTAL ENSEMBLES, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J.G.B. NERUDA, P. HINDEMITH, G. ANTHEIL AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS by Grant S. Peters, B. Mus. Ed., M. Mus. Denton, Texas December, 1998 Peters, Grant S., The Trumpet as a Musical and Dramatic Element in Selected Operas of Gioachino Rossini and Giuseppe Verdi: Its Employment in On-stage and Off-stage Instrumental Ensembles, A Lecture Recital, Together with Three Recitals of Selected Works of J.G.B. Neruda, P. Hindemith, G. Antheil and Others. Doctor of Musical Arts (Performance), December, 1998, 60 pp., 36 musical examples, bibliography, 59 titles. The popularity of the miscellaneous wind bands in Italian society through the centuries, and the prominent use of the trumpet within these ensembles and as a solo instrument, become evident in the examination of the development of the banda sul palco (the band on stage) in Italian opera. Gioachino Rossini was the first to use the banda sul palco (stage band) with any regularity. Giovanni Paisiello, Giuseppe Gazzaniga, and Wolfgang Amadeus Mozart must be considered earlier contributors to the growing movement of using instrumental ensembles on stage. The culmination of the development of the banda sul palco in nineteenth-century opera can be seen in the creations of Giuseppe Verdi. Six operas selected for this study represent Verdi's diversity of styles in operatic banda composition. Nabucco (1842) provides an example of creative staging and the use of the minor mode for dramatic effect. The affective use of key relationship for the heightening of dramatic settings is also used in the 1844 work Ernani. In Act II, scene iv, Verdi employs the historical military writing style for the trumpet in the major mode. This military affiliation with trumpets is also evident in the banda of La battagliadi Legnano (1849), while Rigoletto (1851) and Un ballo in maschera (1859) integrate the societal element of banda tunes with the musical characterizations and situations found in ballroom scenes. The introduction of the Egyptian trumpet fanfare in Aida (1871) supplemented the banda in creating a spectacular dramatic effect. In the patriotic setting of nineteenth-century Italy, the inclusion of the trumpet in Italian society's popular wind bands provides Verdi, within the context of his operas, a compositional device of special dramatic and musical meaning to his audiences. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. iii ACKNOWLEDGMENTS Many people have played an important role in the completion of this doctoral degree. I am sincerely appreciative of Dr. Deanna Bush and Dr. Michael Collins for their guidance in the research and preparation of this document. As my major professor, Dr. Leonard Candelaria has been a constant source of professional and personal guidance for over a decade. I am especially thankful for his insistence on my achieving the highest level of scholarship and performance. These are qualities he exhibits, and are the standards our profession has come to expect. My sisters Camille and Cecily, and the members of my extended families, the Wagners, Rodriguez and Alcocers provided me with much needed encouragement. My parents, Kermit and Sondra Peters have provided every imaginable type of support throughout my life and career, teaching me patience and persistence when I had neither. They are examples of the type of person I hope I can be. Finally, my wife Eugenia, who is the unending source of my happiness and without whom my life was not complete. It is her presence in my life that gives my work meaning. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS..........................................................................iv LIST OF EXAMPLES...........................................................................vi Chapter I. INTRODUCTION AND HISTORICAL PERSPECTIVE ...................... 1 Introduction ........................................... ....................... 1 Historical Perspective.............................................................. 2 The Early Use of the Banda................................................e3 II. THE TRUMPET AND BANDA IN ROSSINI'S OPERAS ................. 10 Gioachino Rossini ................................................................ 10 Otello (18 16)1...............&..................................................... .11 Ricciardo e Zoraide (1818) .................................................... 13 Mose in Egitto (1818).......................................18 La donna del lago (1819)..................................................... 20 III. THE TRUMPET AND BANDA IN VERDI'S OPERAS ....................... 24 Giuseppe V erdi....................................................................24 Adagio for Trumpet and Orchestra (1836-39)..............................26 Nabucco (1842).................................................................27 Ernani (1844)..................................................................32 La battaglia di Legnano (1849)................................................36 Rigoletto (1851)....................................... 38 Un ballo en maschera (1859).................................................42 A ida (187 1)........................................................................ 47 IV. CONCLUSION......................................................................54 BIBLIOGRAPHY ..................................................................................5 V LIST OF EXAMPLES Example Page 1. Paisiello Pirro,Act II, scene ix, military band on-stage, m easures 20 - 35 ............................................................................ 4 2. Gazzaniga Il convitato di pietra, introduction to Finale, m easures 1 - 5 ............................................................................... 5 3. Gazzaniga Il convitato di pietra, Finale, first dance tune, m easures 1 - 6............................................................................. 5 4. Gazzaniga Il convitato di pietra, Finale, second dance tune, measures 61 - 66................ .............................. 6 5. Gazzaniga Il convitato di pietra, Finale, third dance tune, m easures 113 -17 ........................................................................... 6 6. Mozart Don Giovanni, introduction to Act II, Finale, m easures 1 -7 .............................................................................. 7 7. Mozart Don Giovanni, "Cosa rara", Act II, Finale, first dance tune, m easures 51 -58 ............................................................................ 7 8. Mozart Don Giovanni, "Fra i due litiganti", Act II, Finale, second dance tune, measures 118 -25........................................................................... 7 9. Mozart Don Giovanni, "Le nozze di Figaro", Act II, Finale, third dance tune, m easures 162 - 67........................................................................... 8 10. Rossini Otello, "Marziale", Act I, Introduzione, banda-like group within orchestra, measures 119 - 127 ...................................................................... 12 11. Rossini Ricciardo e Zoraide, "Sinfonia", Act I, Introduzione, banda melody, m easures 1 - 26.......................................................................... 14 12. Rossini Ricciardo e Zoraide, "Sinfonia", Act I, Introduzione, banda full score m easures 1 - 26.......................................................................... 16 13. Harmonic Series for the Natural Trumpet pitched in C and in G.........................18 14. Rossini Mose in Egitto, "Preghiera", Act III, #11, banda melody, measures 1 - 52 ......................................................................... 19 15. Rossini La donna del lago, Act I, Finale, banda score, measures 1 - 10..........................................................................21 vi 16. Verdi Adagio for Trumpet and Orchestra, melody, measures 1 - 25..........................................................................27 17. Verdi Nabucco, "Marcia funebre", Act IV, scene ii, march melody w/libretto, m easures 66 - 84........................................................................29 18. Verdi Nabucco, "Marcia funebre", Act IV, scene iii, banda score, m easures 1 - 32 ......................................................................... 30 19. Verdi Ernani, Act III, scene iv, trumpet processional for sei Trombe interne, measures 14 - 21............... .............................. 33 20. Verdi Ernani, Act IV, scene i "Festa da ballo", first dance tune, m easures 8 - 32..........................................................................34 21. Verdi Ernani, Act IV, scene
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