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Mauro Giuliani (1781-1829): Instrumental and Vocal Style in Le

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Mauro Giuliani (1781-1829): Instrumental and Vocal Style in Le COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Mauro Giuliani (1781–1829): Instrumental and Vocal Style in Le Sei Rossiniane Giuseppe Zangari A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2013 Statement of originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: …………………………………………………………………………… Date: ………………………………………………………………………………. i Abstract Instrumental music that derives from operas of the nineteenth century belongs to a rich tradition based on vocal and instrumental techniques and performing styles that also include a large element of unwritten performance practices and conventions. These include tempo rubato, phrasing, articulation and imitating orchestral instruments. The instrumental performance tradition based on vocal models has been filtered through modern performance practice, however, as modernist aesthetics have prevailed. Mauro Giuliani (1781–1829), in his Sei Rossiniane (opp. 119–124), takes his thematic material from Giaochino Rossini’s most popular and early operas. In the quest to perform these works in a historically informed way one must examine the historical practices that pertain to this repertoire. Understanding the emotional context of the arias from which composers borrow is an important link to conveying the original intention of the music. Whilst there is evidence to suggest that Rossini did not pay close attention to the literal meaning of the libretti in setting them to music, it is significant to be able to grasp the emotional context. This research sets out to investigate Mauro Giuliani’s musical upbringing, influences, performance style and ability to compose in a tasteful way so as to appeal to the mass market of amateurs that desired to have opera music dispersed in their homes. Ideas of instrumentation, voice type, vocal quality and tone colour, keys, tempi and expressive indications can be immediately identified upon perusal of the original aria scores, and provide important clues for guitarists about how to approach the Rossiniane. This research also looks at the specific vocal and guitar techniques that were widely employed at the time and suggests ways in which a modern guitarist performing on a modern classical guitar can try to emulate these techniques for ii audiences of today. Also included are score excerpts, audio examples and a case study of Giuliani’s arrangement of a Rossini aria in his Rossiniane, “Assisa a piè d’un salice”, from Otello. iii Acknowledgements I would like to show my appreciation and gratitude towards my thesis supervisor Alan Maddox, who has been most encouraging, insightful and always patient. At all times, he was quick in responding to my many questions and he spent a considerable amount of time outside the call of duty! I would also like to thank the work that my associate supervisor Goetz Richter put into the middle stage of the thesis. Also, I would like to acknowledge Greg Pikler’s teaching throughout my undergraduate and postgraduate studies. This has had a major influence on my performance style and interests and at times, he accepted my outrageous ideas on rubato! A special mention to all the library staff at the University of Sydney, Conservatorium of Music, whose background work and help does not go unnoticed. Thank you. My family and friends have been supportive through the entire process of this project and in particular I would like to thank my parents for being there for me and always encouraging me to follow my passion. This has allowed me to have my own ‘voice’. iv Contents Preface .................................................................................................................................1 Introduction ........................................................................................................................4 Mauro Giuseppe Sergio Pantaleo Giuliani ....................................................................18 Giuliani’s Musical Genres ..........................................................................................20 Engagements with Opera and Singing ........................................................................22 Giuliani and Rossini ...................................................................................................26 Instrumental Music from the Opera ..............................................................................30 Fantasies/Potpourris/Variations ..................................................................................30 Gioachino Antonio Rossini.........................................................................................33 Rossini’s Vocal Style and Performance Conventions ................................................35 Characteristics of Rossini’s Vocal Writing ................................................................37 Features in Rossini’s Style ..........................................................................................38 Performance Practice Based on the Methods of Singing ............................................39 Orchestral Writing ......................................................................................................40 Guitar Techniques ...........................................................................................................41 Technical Considerations Based on the Guitar Methods of Sor and Aguado ............41 Innovations with the Six-String Guitar .......................................................................46 Influences from his Contemporaries ...........................................................................49 Giuliani’s Pedagogy and Teaching Legacy ................................................................50 v Giuliani Opus 1: Studio per la chitarra ......................................................................51 Le Sei Rossiniane ..............................................................................................................53 Creation .......................................................................................................................53 The Manuscripts .........................................................................................................54 Publication ..................................................................................................................54 Performance Practice ..................................................................................................60 Recreation of the Original Text and Dramatic Context ..............................................61 Performance Considerations for the Modern Guitarist: Technique, Style and Authenticity ....................................................................................................................................62 Dynamics and Other Expressive Indications ..............................................................64 Tempo Rubato ............................................................................................................64 Other Types of Rubato ................................................................................................75 Case Study: Excerpt of a Passage in the Rossiniane ..................................................79 Conclusion ..................................................................................................................91 Appendices ........................................................................................................................93 List of CD Excerpts ........................................................................................................102 Bibliography ...................................................................................................................103 vi Preface Hearing the nineteenth-century period instrument specialists Duo Maccari-Pugliese performing music of Gioachino Rossini-Mauro Giuliani, I was fascinated by their playing, where vocal character was shining through the music.1 Instinctively, it was clear to me that their interpretation was how I believed this music could be performed but had never heard this done before. Although, at the conclusion of the concert, I was left satisfied, my curiosity was aroused and
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