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Vesti La Giubba from Pagliacci

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Vesti la Giubba from Pagliacci Ruggero Leoncavallo 1857-1919 Arranged by William V. Johnson INSTRUMENTATION Solo Tenor Trumpet 1 Solo Trombone (Optional) Trumpet 2 Piccolo Trumpet 3 Flute 1 Horn 1 Flute 2 Horn 2 Oboe 1 Horn 3 Oboe 2 Horn 4 English Horn Trombone 1 Bassoon 1 Trombone 2 Bassoon 2 Bass Trombone Contra Bassoon Euphonium Clarinet in Eb Tuba Clarinet 1 Double Bass Clarinet 2 Piano Clarinet 3 Timpani Alto Clarinet Cymbals Bass Clarinet Contra Bass Clarinet Soprano Saxophone Alto Saxophone I Alto Saxophone II Tenor Saxophone Baritone Saxophone Duration: About 3 minutes PROGRAM NOTES The Opera Around 1890, when Pietro Mascagni’s Cavalleria rusticana premiered, Ruggero Leoncavallo was a little-known composer. After seeing Mascagni’s success, he decided to write an opera in response: one act composed in the verismo style. Leoncavallo claimed that he based the story of Pagliacci on an incident from his childhood, a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D’Alessandro, with his brother Luigi an accomplice to the crime. The incident resulted from a series of perceived romantic entanglements involving Scavello, Luigi D’Alessandro, and a village girl with whom both men were infatuated. Leoncavallo’s father, a judge, was the presiding magistrate over the criminal investigation. Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria “Vesti la giubba” (“Put on the costume” or, in the better-known older translation, “On with the motley”) was recorded by Enrico Caruso and laid claim to being the world’s frst record to sell a million copies, although this is probably a total of Caruso’s various versions of it made in 1902, 1904 and 1907. The Composer The son of a judge, Ruggero Leoncavallo was born in Naples on April 23, 1857. It was not until his La bohème was performed in 1897 in Venice that his talent obtained public confrmation. However, it was outshone by Puccini’s opera of the same name and on the same subject, which was premiered in 1896. Two tenor arias from Leoncavallo’s version are still occasionally performed, especially in Italy. Subsequent operas by Leoncavallo were in the 1900s: Zazà (the opera of Geraldine Farrar’s famous 1922 farewell performance at the Metropolitan Opera), and 1904’s Der Roland von Berlin. In 1906 the composer brought singers and orchestral musicians from La Scala to perform concerts of his music in New York, as well as an extensive tour of the United States. The tour was, all in all, a qualifed success. He had a brief success with Zingari which premiered in Italian in London in 1912, with a long run at the Hippodrome Theatre. Zingari also reached the United States but soon disappeared from the repertoire. The Dedication This arrangement for wind band and tenor is dedicated to Dr. Brian Asher Alhadeff in deep appreciation for his extraordinary effort to bring professionally performed opera to the central coast of California. Dr. Alhadeff is an internationally acclaimed opera, ballet, and symphonic, conductor with unique specialization in both producing and conducting stage productions exceeding 200 artists. Dr. Alhadeff has been the Artistic and General Director of Opera San Luis Obispo since 2011. He is also Principal Conductor for Civic Ballet San Luis Obispo and State Street Ballet of Santa Barbara. He was the artistic director and founder of the Hradec Kralove International Summer Opera Festival that featured the Eastern Bohemian Philharmonic in collaboration with the Czech State Opera and Ballet. In 2010, Alhadeff guest conducted the Albanian National Radio and Television Orchestra in a nation-wide broadcast that included the Albanian premiere of American composer Howard Hanson’s second symphony, The Romantic. Alhadeff studied conducting at the Peabody Conservatory of Music in Baltimore and the Janáček Academy in Brno, Czech Republic. He holds a Bachelor of Arts from Loyola Marymount University (Los Angeles), a Masters of Music from California State University, Los Angeles, and a Doctorate of Musical Arts from the UCLA Herb Alpert School of Music. The Arranger William V. Johnson, Professor Emeritus at California Polytechnic State University, San Luis Obispo, California, served as the university‘s Director of Bands and Coordinator of Instrumental Music from 1966 to 2010. In 2014, he was elected to the Board of Directors of Opera San Luis Obispo. Professor Johnson is active as a guest conductor and is a transcriber and an arranger of music for the modern wind band. In 1984, he was elected to membership in the American Bandmasters Association. He is currently President-Elect of the World Association for Symphonic Bands and Ensembles. He is a graduate of Indiana University and The University of Michigan. To Brian Asher Alhadeff, Artistic Director, Opera San Luis Obispo "Vesti la Giubba" from Pagliacci Ruggero Leoncavallo q = 52 Arranged by William V. Johnson Adagio Piccolo ° & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ > œ œ œ œ Flute 1 4 ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ J ‰ Œ J ‰ Ó Ó ‰ œ œ J ‰ Œ Ó & 4 J > Flute 2 œ œ j œ œ & 4 ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ J ‰ Œ J ‰ Ó Ó ‰ œ œ J ‰ Œ Ó > Oboe 1 > >œ œ & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ J ‰ Œ J ‰ Ó Ó ‰ j œ œ œ ‰ Œ Ó mp J œ J > Oboe 2 > >œ œ & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ J ‰ Œ J ‰ Ó ∑ ∑ mp J ˙ ˙ ˙ œ > English Horn # n˙ #˙ >œ œ > & 4 ∑ ∑ ˙ ˙ J ‰ Œ Œ J ‰ Œ J ‰ Œ œ ‰ Ó ∑ ∑ mp J > Bassoon 1 ? 4 ˙ j > j œ j 4 ∑ ˙ ˙ ˙ ˙ b˙ n˙ ˙ œ ‰ Œ Œ œ ‰ Œ œ ‰ Œ J ‰ Œ œ œ ‰ Œ ‰ œ œ œ œ ‰ Œ Ó p ˙ mp J > J J Bassoon 2 ? 4 j œ j 4 ∑ ˙ ˙ ∑ ∑ j‰ Œ Œ j‰ Œ j‰ Œ œ ‰ Œ j ‰ Œ ‰ J œ œ œ ‰ Œ Ó p ˙ ˙ ˙ œ mp>œ œ > œ œ j > >j >œ Contrabassoon ? 4 ∑ ∑ ∑ ∑ ∑ ˙ œ ‰ Œ Œ œ ‰ Œ œ ‰ Œ J ‰ Œ œ œ ‰ Œ Ó ∑ ¢ mp J > J # > >œ Clarinet in Eb ° # j œ j œ œ & # 4 ∑ ∑ n˙ #˙ ˙ ˙ ˙ œ ‰ Œ Œ œ ‰ Œ J ‰ Œ J ‰ Œ j ‰ Œ ‰ œ œ J ‰ Œ Ó ˙ ˙ J mp> #œ #œ >œ >œ œ œ Clarinet in Bb 1 # 4 #˙ ˙ ˙ >œ J j œ œ J & # 4 ∑ ˙ ˙ n˙ n˙ ˙ Œ J ‰ Œ J ‰ Œ ‰ Œ #œ #œ ‰ Œ ‰ J ‰ Œ Ó p˙ ˙ mp > > Clarinet in Bb 2 ## 4 j >œ œ œ j œ œ œ & 4 ∑ ˙ œ n˙ œ ˙ n˙ ˙ œ ‰ Œ Œ J ‰ Œ J ‰ Œ J ‰ Œ œ œ ‰ Œ ‰ œ J ‰ Œ Ó p˙ n˙ ˙ mp J Clarinet in Bb 3 ## 4 j j n>œ j j & 4 ∑ œ #˙ œ n˙ ˙ œ ‰ Œ Œ œ ‰ Œ ‰ Œ œ ‰ Œ j ‰ Œ ‰ œ œ œ œ ‰ Œ Ó n˙ mp> J > #œ œ J p˙ n˙ #˙ ˙ # Alto Clarinet in Eb # 4 j j & # 4 ∑ ˙ Œ j‰ Œ j‰ Œ j‰ Œ œ œ ‰ Œ ‰ j œ œ ‰ Œ Ó p n˙ #˙ ˙ mp œ œ œ n˙ #˙ n˙ #˙ w > >œ > œ Bass Clarinet # in Bb # 4 ∑ Œ j‰ Œ j‰ Œ ‰ Œ j ‰ Œ ‰ j ‰ Œ Ó & 4 ˙ ˙ w œ œ j œ œ œ œ j ˙ ˙ ˙ ˙ n˙ #˙ mp> > >œ œ œ Contrabass # >œ > > œ œ œ Clarinet in Bb & # 4 ∑ ˙ ˙ ∑ ∑ j‰ Œ Œ J ‰ Œ œ ‰ Œ œ ‰ Œ J ‰ Œ ‰ J œ œ œ ‰ Œ Ó ¢ q = 52 p ˙ ˙ ˙ œ mp J J J Adagio >œ >œ œ œ Soprano Saxophone ° # > j œ & # 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ J ‰ Œ J ‰ Œ #œ #œ ‰ Œ ‰ œ J ‰ Œ Ó mp J J Alto Saxophone 1 # #4 œ n˙ œ ˙ ˙ ˙ œ j > > j & # 4 ∑ ˙ ˙ ˙ J ‰ Œ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ œ ‰ Œ ‰ œ œ œ œ ‰ Œ Ó p n˙ mp> J J J J # Alto Saxophone 2 ## 4 œ #˙ œ n˙ ˙ œ j j j j j j & 4 ∑ ˙ n˙ ‰ Œ Œ œ ‰ Œ nœ ‰ Œ ‰ Œ #œ œ ‰ Œ ‰ œ œ œ œ ‰ Œ Ó p˙ n˙ #˙ J mp> > >œ Tenor Saxophone ## 4 j >œ œ œ œ œ & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ j‰ Œ J ‰ Œ J ‰ Œ ‰ J œ œ ‰ Œ Ó mp> >œ J # Baritone Saxophone ## 4 >œ j j œ œ œ j & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ œ ‰ Œ œ ‰ Œ ‰ Œ ‰ œ œ œ ‰ Œ Ó ¢ mp J > > J J f 3 ˙ œ œ #œ #œ ˙ œ Tenor Solo 4 ∑ Œ ‰ ‰ œ œ œ œ bœ ‰ œ #œ œ œ œ œ œ ‰ œ™ œ™ œ œ Œ ‰™ œ œ œ œ œ Œ ™ œ nœ Œ œ Œ œ œ J ‰ Œ œ & 4 œ œ œ œ œ J œ R œ™#œ ‹ Reci- tar! Men-tre pre -so dal de- li rio non so piú quel che di-co e quel che fac- cio! Ep-pur é d'uo- po... sfor - za ti! Bah! sei tu for-se un uom? Tu se' Pa f ˙ œ œ œ œ œ ˙ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ#œ#œ œ Solo Trombone œ œ œ œ œ bœ œ ™ ™ œ nœ œ™ ? 4 ∑ Œ ‰ ‰ ‰ J ‰ Œ ‰™ R Œ Œ Œ J ‰ Œ #œ cue. for solo tenor 3 > j > n>œ j >œ œ 4 œ œ œ j œ >œ œ œ & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ bœ ‰ Œ nœ ‰ Œ #œ #œ ‰ Œ ‰ œ œ œ J ‰ Œ Ó Piano mp œ J J n œ œ œ >j j >j ? 4 œ j j œ œ œ 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ Œ œ ‰ Œ œ ‰ Œ ‰ Œ ‰ œ œ j‰ Œ Ó q = 52 mp œ œ œ œ œ Adagio > >œ œ > >œ œ > > >œ Trumpet in Bb 1 ° # {& # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # Trumpet in Bb 2 & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # Trumpet in Bb 3 & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ # > Horn in F & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Ó Ó ‰ j œ œ œ ‰ Œ Ó mpJ œ J Horn in F # > & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Ó Ó ‰ j j‰ Œ Ó mpJ œ œ œ œ # > Horn in F & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Ó Ó ‰ j œ œ œ ‰ Œ Ó mpJ œ J Horn in F # > & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Ó Ó ‰ j j‰ Œ Ó ¢ mpJ œ œ œ œ Trombone 1 ° ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Trombone 2 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass Trombone ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Euphonium > j j > ? 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ œ ‰ Œ Ó ∑ mpJ > > J Tuba ? 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ j‰ Œ j‰ Œ j‰ Œ j ‰ Œ Ó ∑ ¢ mpœ œ œ œ > > >œ > Double Bass ? 4 .
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  • Pietro Mascagni

    Pietro Mascagni

    Lavoro sulla storia dell'opera 5AL Gruppo: Sara Baruchello, Niccolò Desii, Ishikabye Jankoo, Alice Laudicina, Sara Lotti PIETRO MASCAGNI Pietro Antonio Stefano Mascagni nasce il 7 dicembre 1863 a Livorno. Il padre Domenico Mascagni è proprietario di un forno mentre la madre si occupa della famiglia. Pietro ha quattro fratelli e da subito si mostra il più intelligente e interessato agli studi e per questo, malgrado le ristrettezze economiche, viene avviato agli studi umanistici. In seguito, il giovane che sogna di fare il compositore, affianca agli studi umanistici quelli musicali: studia pianoforte e canta come contralto nella Schola Cantorum della chiesa di San Benedetto e, tre anni dopo, intraprende studi musicali più regolari e diviene allievo di Alfredo Soffredini, fondatore dell'Istituto Musicale Livornese. La sua prima composizione musicale, la romanza Duolo eterno!, risale al 1878, seguita da altre come: Elegia per soprano, violino e pianoforte (1879), Ave Maria per soprano e pianoforte (1880), Pater Noster per soprano e quintetto d'archi (1880), Sinfonia in fa maggiore (1881), nello stesso anno viene eseguita a Livorno la sua cantata In filanda a quattro voci soliste e a piena orchestra. E nel 1882 la cantata Alla gioia, su testo di Friedrich Schiller. Nel 1882 si trasferisce a Milano grazie all'aiuto economico del conte de Larderel, il suo secondo mecenate (il primo fu lo zio morto un anno prima). A Milano, Pietro Mascagni entra al conservatorio e stringe amicizie con il mondo artistico dell'epoca; fra questi incontri spicca quello con Giacomo Puccini, Amilcare Ponchielli e con Vittorio Gianfranceschi, che diverrà il suo più grande amico.
  • La Donna Del Lago

    La Donna Del Lago

    GIOACHINO ROSSINI la donna del lago conductor Opera in two acts Michele Mariotti Libretto by Andrea Leone Tottola, production Paul Curran based on the poem The Lady of the Lake by Sir Walter Scott set and costume designer Kevin Knight Saturday, March 14, 2015 lighting designer 1:00–4:10 PM Duane Schuler projection designer New Production Driscoll Otto Last time this season The production of La Donna del Lago was made possible by a generous gift from the Betsy and Edward Cohen/Areté Foundation Fund for New Productions and Revivals, and Dominique and Frédéric Laffont Additional funding was received from Mr. and Mrs. William R. Miller, and general manager Peter Gelb William and Helen Little music director James Levine Co-production of the Metropolitan Opera and principal conductor Fabio Luisi the Santa Fe Opera The 8th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance la donna is being broadcast live over The del lago Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Michele Mariotti America’s luxury in order of vocal appearance homebuilder®, with generous long-term elena, daughter of dugl as d’angus support from Joyce DiDonato The Annenberg giacomo v, king james of scotl and, disguised as uberto Foundation, The Juan Diego Flórez Neubauer Family Foundation, the malcolm groeme, in love with elena Vincent A. Stabile Daniela Barcellona Endowment for ser ano, servant to dugl as Broadcast Media, and contributions Eduardo Valdes from listeners dugl as d’angus, scot tish nobleman, worldwide. former tutor of king james Oren Gradus There is no Toll Brothers– rodrigo di dhu, chief of the highlanders Metropolitan Opera John Osborn* Quiz in List Hall today.
  • Leoncavallo Ruggero

    Leoncavallo Ruggero

    LEONCAVALLO RUGGERO Compositore italiano (Napoli 23 IV 1857 - Montecatini 9 VIII 1919) 1 Studiò musica, prima privatamente con i maestri Siri e A. Simonetti, poi al conservatorio di Napoli con B. Cesi (pianoforte), M. Ruta (armonia), L. Rossi (composizione). Mandato dal padre a Bologna a studiare giurisprudenza, formò invece la sua cultura letteraria alle lezioni del Carducci e nel 1878, a 20 anni, si laureò in lettere. Ebbe indole avventurosa e vita irrequieta. A 20 anni, trovate sbarrate a Milano le porte di editori ed impresari raggiunse in Egitto uno zio che si faceva chiamare Leoncavallo-bey e che lo fece nominare maestro di camera di Mahmud Hamid, fratello del viceré, che lo avrebbe voluto capo delle bande militari egiziane. Dopo una fuga avventurosa, a fatica riuscì a mettersi in salvo a Porto Said, travestito da arabo, e a raggiungere poi Marsiglia. Passato a Parigi, visse dando lezioni, suonando il pianoforte nei caffè- concerto, e scrivendo canzoni per le cantanti di second'ordine. La fortuna gli venne incontro nelle vesti del baritono V. Maurel, che prese a proteggerlo e lo presentò a Milano a G. Ricordi, dal quale ottenne un assegno di L. 200 mensili per un anno, onde musicare il già approntato libretto I Medici, primo della trilogia italiana (Crepusculum), che avrebbe dovuto comprendere anche Savonarola e Cesare Borgia. Il suo disegno di comporre una trilogia musicale sul fenomeno grandioso del Rinascimento politico italiano, Leoncavallo lo aveva già manifestato a Wagner in occasione della presentazione di Rienzi a Bologna. Ma lo strepitoso successo di Cavalleria rusticana di Mascagni (17 V 1890) lo indusse a sceneggiare un fatto d'amore e di sangue svoltosi sotto i suoi occhi in Calabria, quando aveva quindici anni, e portato davanti al padre, presidente della corte di giustizia.