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Gaetano Pugnani and the Eighteenth-Century Italian Symphony: a Study and Edition of the Overture in E-Flat (Zt 23)

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Gaetano Pugnani and the Eighteenth-Century Italian Symphony: a Study and Edition of the Overture in E-Flat (Zt 23) GAETANO PUGNANI AND THE EIGHTEENTH-CENTURY ITALIAN SYMPHONY: A STUDY AND EDITION OF THE OVERTURE IN E-FLAT (ZT 23) By CLAUDIO RE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Claudio Re 2 To mom and dad 3 ACKNOWLEDGMENTS I thank the Interlibrary Loan staff at the University of Florida for their help in locating and obtaining sources as well as the Music Librarians (Robena Cornwell, Michele Wilbanks, and Mary Wood) for their genuine concern with my research. I thank the librarians who in several locations in Europe were willing to correspond with me and were helpful in supplying information and reproductions of scores: Vera Paulus (Engelberg, Switzerland); Margarida Cerqueira and Sónia Pascoal (Biblioteca de Ajuda, Lisbon, Portugal); Prof. Licia Sirch (Conservatorio Giuseppe Verdi, Milan, Italy); Prof. Chiara Pancino (Conservatorio Benedetto Marcello, Venice, Italy); Budagova Ekaterina (National Library of Russia, St. Petersburg, Russia); Ilse Woloszko (Royal Academy of Music, London, England); Roland Schmidt-Hensel (Staatsbibliothek zu Berlin Musikbteilung mit Mendelssohn-Archiv, Berlin, Germany); Prof. Linda Govi (Conservatorio Statale di Music Giuseppe Verdi, Turin, Italy); Laura Antoniotti and Luca Mortarotti (Associazione De Sono, Turin, Italy). A number of world renowned scholars were very helpful in the preliminary stage of my research: Prof. Alberto Basso (and his assistant Enrico Chiorra), Prof. Annarita Colturato, Dr. Bathia Churgin, Dr. Paul Corneilson, Dr. Cliff Eisen, Dr. Marita McClymonds, Dr. Mary Sue Morrow, Dr. Sterling Murray. A special thank goes also to Dr. Will Kesling, Dr. David Kushner, and Dr. Ronald Johnson for the continuous support, mentoring, and the professional consideration they offered me without reservation. I thank the members of my supervisory committee and the entire faculty at the University of Florida School of Music for having made my experience as a doctoral student a thought provoking one. I learned a lot from you. 4 My degree would have not been possible without the significant material support of the University of Florida College of Fine Arts and the University of Florida School of Music. I thank Dean Lucinda Lavelli, Dean Edward Schaefer, and Dr. John Duff for choosing to invest in me the University‘s resources. Many thank to family, to Marie, to my friends, and ex-friends for their unconditional affection. You have been the best support group one could wish to have. 5 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF TABLES ............................................................................................................ 9 LIST OF ABBREVIATIONS ........................................................................................... 10 ABSTRACT ................................................................................................................... 11 CHAPTER 1 INTRODUCTION .................................................................................................... 14 Relevance of the Topic: The Gap in Scholarship .................................................... 18 Introduction to Gaetano Pugnani ............................................................................ 19 Summary of Chapters ............................................................................................. 21 2 THE CULTURAL ENVIRONMENT ......................................................................... 26 Voice vs. Instruments.............................................................................................. 26 Opera in Italy .......................................................................................................... 27 Instrumental Music in Italy ...................................................................................... 29 The Cultural Environment: Remarks ....................................................................... 32 3 THE CLASSICAL STYLE ........................................................................................ 34 Understanding the Style .......................................................................................... 34 The Classical Style ................................................................................................. 38 Periodicity ......................................................................................................... 38 Rhythm ............................................................................................................. 39 Dynamics .......................................................................................................... 40 Harmony ........................................................................................................... 40 Resolving Contrasts ......................................................................................... 42 Widespread Conventions ........................................................................................ 43 Homogeneous Society ............................................................................................ 45 Cosmopolitanism .............................................................................................. 45 Composers‘ Training ........................................................................................ 46 Italian Influence ................................................................................................ 47 Interweaving Tendencies ........................................................................................ 48 Doctrine of Mixed Taste.................................................................................... 49 Music as a Universal Language ....................................................................... 51 The Classical Style: Remarks ................................................................................. 52 4 THE CLASSICAL SYMPHONY .............................................................................. 53 The Challenge of Defining the Genre ..................................................................... 53 6 The Development of the Symphony: A Brief Survey ............................................... 57 Early Scholarship ............................................................................................. 58 Mid-Twentieth Century ..................................................................................... 59 A Shift in the Approach ..................................................................................... 63 Importance of the Baroque Concerto ............................................................... 66 Importance of the Baroque Sonata ................................................................... 69 Importance of the Neapolitan Sinfonia ............................................................. 70 ―Neapolitanness‖ of Mannheim Mannerisms .................................................... 74 The importance of Individual Components and Thematic Dualism ................... 77 Smaller Components ........................................................................................ 77 Thematic Dualism: The Sonata Form ............................................................... 80 1990s and 21st Century ................................................................................... 82 Performance Contexts ............................................................................................ 86 Concerts ........................................................................................................... 86 Church .............................................................................................................. 90 Theater ............................................................................................................. 91 The Symphony: Remarks ....................................................................................... 92 5 GAETANO PUGNANI: TOWARD A REVISION OF HIS BIOGRAPHY ................... 94 Early Scholarship .................................................................................................... 94 1740s ...................................................................................................................... 96 1749 and 1750 ...................................................................................................... 104 1750s .................................................................................................................... 107 1760s .................................................................................................................... 113 1770s .................................................................................................................... 119 1780s .................................................................................................................... 130 1790s .................................................................................................................... 135 The Life of Gaetano Pugnani: Remarks ................................................................ 139 6 PUGNANI AND THE ITALIAN SYMPHONY ......................................................... 141 The Position of Pugnani in the Italian Contributions to the Symphony .................. 141 Pugnani‘s Manuscript Symphonies ......................................................................
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