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NUOVA SERIE n° 19 (02-19/53), GENNAIO 2007 -€ 4,00 ISSN 1724-7128 LUNARIONUOVO, uste a RASSEGNA DI LETTERATURA, DIAI.KITOI.OGIA E MUSICA DIRETTA DA MARIO GRASSO CAPI REDAZIONE: GÌ AVI PI ERO PICCOLO E FRANCESCO PIG A ART DIRECTOR: ERIKA l O GIUDICE Aut. Reg. Trib. di Catania n° 537 del 24/09/1979 Dir. Resp. M. Grasso Poste Italiane S.p.A. Spedizione in a.p. - 70% • D.C.B. - Sicilia 2003. sommario editoriale KClO, 1 Alessandro Solbiati Un vero e proprio appello 1 Mario Grasso Cartaceo 2 Silvia Bianchera Bettinelli Da un'esperienza scolastica ad alcune considerazioni su Verdi e Puccini3 Girolamo De Simone Sintassi dell'inaudito 5 Sergio Lonzo Riflessioni di un compositore sul rumore 7 Salvo Pira Il verso dell'uomo 10 Lin Coudy Il giorno delle memorie 11 Marco Ghiglione 1 Randegger à Trieste 12 Gianpaolo Rampini AllEstdellEden Biografie di artigiani eterodossi: Guy (henevier 16 Franz Falanga La musica jazz raccontata ai principianti (1) 17 Erika Lo Giudice Dorseys, shouts e il giubilo del canto 18 Luca Cori Lyr, Milanocosa e il progetto Poièin 20 Giampiero Piccolo Le figure della creatività (1) 25 Achille Serrao Breve storia della canzone romana, dalle origini a Romolo Balzani27 LUNARIONUOVO musica - N° 19(02-19/531 I ±Randegge. r di Trieste: una famiglia musicale dimenticala, a cavallo fra Ottocento e Novecento Marco (ih. 771doloroso constatare che una famiglia dì musicisti italiani Aneddoto 2: durante una J-j veramente interessanti è caduta nell'oblio. Spero che questi prova, Ricci chiese ad Alberto miei scritti possano contribuire a far nascere la curiosità di cosa significasse un 'indica• BIANCA CAPPELLO eseguire delle composizioni piacevoli, spesso veramente belle, zione di tempo sullo spartito. e sempre ben scritte. La famiglia era originaria della Svizzera, "Tempo in tre ", rispose. "No, è C A B & O WiTEI esattamente dal paese di Worblingen, vicino a Randegg, tempo perso ", concluse Ricci, appunto, nei pressi di Schaffhausen. volendo esprimere, la pochezza In seguito, i Randegger si trasferirono a Trieste, e proprio da della musica che stava si ^imparassi ra qui inizia la nostra storia. dirigendo. VIAVBt itìiWMIi Parlerò di Alberto (1832-1911), musicista poliedrico di Il 1850 fu un anno cruciale successo, del suo sfortunato e geniale nipote Alberto Iginio per il diciottenne: fece la (1880-1918), del pianista "americano" Giuseppe Aldo e della conoscenza di Giuseppe Verdi, compositrice Evelina. La parte riguardante Alberto è densa di che si trovava a Trieste per la aneddoti: era lo stesso musicista a raccontarli ad amici, allievi prima del suo "Stiffelio" (4), ed e colleghi nel suo salotto londinese, da buon inglese era un giorno impegnato a naturalizzato. girargli le pagine durante una prova di sala. Il Maestro gli Parte prima: Alberto chiese di insegnare la parte alla TMS8TB TffOGftÀriA WEIS "primadonna"(5), e qui si posero (Trieste, 1832 - Londra, 1911) liti. le basi della sua carriera. Biografia con nove aneddoti Dopo essere stato direttore musicale ai teatri di Fiume, Frontespizio dei libretto dell'opera Bianca Cappello di A. Randegger da Trieste a Londra Zara, Sinigaglia e Brescia, agli inizi del 1853 Alberto si trovò a Venezia mentre Verdi era Alberto Randegger nacque a impegnato per l'allestimento della "prima" de La Traviata (6 Trieste il 13 aprile 1832. Il padre marzo). era maestro di scuola e la madre Aneddoto 3: Randegger testimonia che Verdi, appena giunto una musicista dilettante. La da Roma (dove si trovava per II Trovatore), scrisse lo spartito crescita artistica di Alberto non fu (la riduzione per canto e pianoforte) dell'intero primo atto durante la notte, stando in piedi al tavolo. ^Aneddoto 1: fino a 13 anni non Riatto di Alberto Randegger Aneddoto 4: Il Teatro La Fenice era gremito per la "prima " di mostrava particolari interessi musicali, fino a quando, Traviata, ma Verdi fece in modo dì far sedere Randegger in improvvisamente, mise entrambe le mani sulla spinetta di casa orchestra. e, senza conoscere la musica, ne ricavò accordi armonicamente Forse anche a seguito dell'ammirazione verso tanto Maestro, corretti, come da lui stesso riferito, tra lo stupore dei familiari. l'anno successivo Randegger mise in scena (a soli 22 anni) la sua Alcuni amici di famiglia insistettero per indirizzarlo agli studi prima opera, Bianca Cappello, al teatro di Brescia è quindi a musicali, cosa che fece prendendo lezioni dal maestro Tivoli Trieste, a seguito della quale gli fu proposto di recarsi a New York direttore di una nota orchestra locale, e da Jean Lafont<2), organista per dirigere una stagione di opere italiane, fra le quali la sua Bianca presso la chiesa inglese a Trieste, per il pianoforte. Il giovane Cappello, alla"Academy of Music". A causa di un'epidemia Randegger non conosceva una sola parola di inglese, lingua che, di colera che imperversava in America, ricevette un telegramma come vedremo, fu in seguito fondamentale per lui. che gli proibiva di attraversare l'Atlantico. Rimase pertanto un In seguito fu allievo di Luigi Ricci<3) per la composizione, che mese a Parigi dove il suo fratello maggiore, che viveva in lo introdusse nell'ambiente teatrale, tenendoselo vicino durante Inghilterra da molti anni, gli scrisse invitandolo a Londra. Vi andò, le prove al pianoforte. e vi rimase tutta la vita. (1) Augusto Tivoli, citato quale collaboratore del periodico "La musica per (4> Che avvenne sabato 16 novembre 1850 al Teatro Grande (oggi Teatro tutti" di Trieste in "Giuseppe Radole-Ricerche sulla vita musicale a Trieste- Giuseppe Verdi). Il manifesto riporta: poesia di Francesco Maria Piave - ed. Svevo-Trieste,1988". musica del Maestro Giuseppe Verdi e dallo stesso diretta e posta in scena... <2> Giovanni Battista Lafont (Rovigno, Istria, 1820 - Trieste, 1897), maestro di Si darà principio alle ore 7 V2 precise. clavicembalo, organista a Gapodistria e poi a Trieste alla comunità Si veda "Giuseppe Stefani - Verdi e Trieste - Il Comune di Trieste Editore - anglicana, violinista nell'orchestra della Cappella Civica. Trieste, 1951. <3> "Luigi Ricci (Napoli, 1805 - Praga, 1859) giunse a Trieste nel 1837, per Per il particolare significato della figura di Giuseppe Verdi per la città di succedere al defunto Giuseppe Farinelli nell'incarico fisso di maestro Trieste, si veda anche l'interessante saggio "Mario Nordio e Marino Pittana concertatore del Teatro e direttore della Cappella Civica. Vinse il concorso - Verdi cantore del Risorgimento nella passione giuliana -1813 -1963 - ed. per chiara fama. Nella sua non convenzionale vita sentimentale con le sorelle Poligrafiche San Marco - Cormons (Go), 1963. Ludmilla (la moglie) e Francesca (la cognata) Stolz, da quest'ultima nacque il <5) Manetta Gazzaniga Malaspina Albites (Voghera, 1824 - Milano, 1884) figlio Luigi (Luigino) Ricci-Stolz, compositore. Ludmilla e Francesca erano soprano, allieva di A. Cetta e di Alberto Mazzucato, del quale cantava anche inoltre sorelle di Teresa Stolz, grande interprete verdiana e (probabilmente) le opere. In prime nozze sposò il marchese Malaspina e, alla morte di questi, amante del Maestro. il M° A. Albites. 12 LUNARIONUOVO musica - N° 19(02-19/53) 7/primo periodo londinese Bernhard Molique.(8) Finalmente, nel 1857 fece la sua prima apparizione come Avvertito dell'arrivo a Londra del suo ex-allievo, Luigi Ricci direttore d'orchestra in una stagione di opere buffe messe in scena gli scrisse una lettera di presentazione per il concittadino al St. James's Theatre da parte di una compagnia italiana. Fu un Michele Costa<6), il quale gli rispose di non poter fare nulla per successo: coro ed orchestra sotto la sua bacchetta si esprimevano lui, ma che se aveva talento, al di sopra delle loro possibilità. voglia di lavorare e un po' di Randegger trovò il tempo soldi, avrebbe potuto sicura• (anche fino a mezzanotte) per mente trovare la propria strada a studiare l'organo, e fu organista e Londra, altrimenti, il migliore maestro del coro per undici anni consiglio era quello di tornare alla St. Paul's Church dalla sua immediatamente a casa. consacrazione (1859) al 1870. In Randegger rispose di. non questo periodo il Nostro diresse volere nulla da lui, ma che gli con successo vari oratori, tra i chiedeva solamente di poter quali il per lui "soporifero" ascoltare più musica possibile: Messiah. in seguito a questo, i due Aneddoto 6: Durante quel divennero buoni amici. periodo morì Alberto, il principe Aneddoto 5: Randegger consorte, per il quale Randegger ricorda che Costa gli regalò una nutriva una forte ammirazione. Per copia del "Messia" diHaendel, e tale circostanza, egli compose un 10 invitò ad assistere "Funeral Anthem" che venne all'esecuzione. Sovrastato dalla eseguito a St. Paul's. Al momento "magnitude of the orchestra and del sermone, il vicario rev. Pelle chorus " (detto da Randegger) e dichiarò che, avendo ascoltato la dall'impatto di quella musica composizione di Randegger, non nuova e strana, si addormen• era più necessario per lui pregare, tò. Lo riferì a Costa, il quale lo e non erano necessarie ulteriori invitò a "ritentare", ma resistette parole per esprimere i sentimenti solo un poco più a lungo. prodotti dalla musica.<9) Randegger decise comunque di stabilirsi a Londra ("This is La carriera e il successo the place for me to stop - to watch, to study, and learn") ed Il 2 maggio 1864 al Theatre imparare l'inglese(7), e compose Royal di Leeds, dedicata a 11 suo primo brano in quella Michele Costa, con un lingua nel 1855, dedicato ad un clamoroso successo andò in cavaliere del 12° Lancieri: "The scena l'operetta "The Rivai Meadow Gate", ottenendo un Beauties" di Randegger. consenso unito ad un'osserva• Vennero bissati non meno di sei zione di tipo "salottiero". numeri. Nel 1868 Randegger fu Infatti, il brano era scritto in nominato professore di canto re bemolle maggiore, ed il alla Royal Academy of Music critico musicale si chiese se (la più antica scuola di musica quella tonalità con tante di Londra) e poi membro del alterazioni e tasti neri non fosse comitato di gestione.
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    LINEAGES OF VOCAL PEDAGOGY IN AUSTRALIA, 1850-1950 Volume 2 by Beth Mary Williams A dissertation submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy. The University of Melbourne September 2002 11 Lineages of Vocal Pedagogy in Australia The following is an introductory lineage study of major lineages of vocal pedagogy in Australia. Many lineages not contained in the body of the thesis are outlined in this document. The lineage also provides a cursory glance at the major lineages of traditional Italian pedagogy which have relevance for an Australian vocal pedagogical context, and it was hoped that this might assist readers in ascertaining the long term lineage links without excessive complication. The symbol'-' indicates that the following is separated from what is immediately above, and that a new lineage has begun. Lineages are indicated as subsequent generations by the use of one tab space, to show that the following names are pupils of the aforementioned. Naturally, lists of students of particular teachers are far from complete, and some only represent one particularly successful pupil of a given teacher. Where possible dates and biographical information are given, in order to contextualise the work of a singer or teacher. The documentation of lineages is not exhaustive. Many teachers who were active between 1850 and 2000 are omitted owing to the difficulties in finding information on private studios through archival resources and the reluctance of many present teachers to participate in surveys. The following is a sample three-generation entry, with an explanation of how the lineage may be understood: ~ (Separates different schools of singers.) Joe Bloggs (The teacher/s of the following bold name.) Joe Green (The teacher/singer under consideration.) Tenor, born in 1889, Green performed extensively with the Eastside Liedertafel.
  • View of the Third's Arguably More Arcane Extension and Intensification of All the Salient Features of the Second." Peter Franklin in Grove Music Online

    View of the Third's Arguably More Arcane Extension and Intensification of All the Salient Features of the Second." Peter Franklin in Grove Music Online

    J & J LUBRANO MUSIC ANTIQUARIANS Item 390 Catalogue 76 Rare Printed Music & Musical Literature Musical Autographs & Manuscripts Part IV: M-P 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 e-mail [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Checks in U.S. dollars drawn on a U.S. bank - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) - International money order All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
  • The Idea of Art Music in a Commercial World, 1800–1930

    The Idea of Art Music in a Commercial World, 1800–1930

    The Idea of Art Music in a Commercial World, 1800–1930 Idea of Art.indb 1 02/02/2016 15:13 Music in Society and Culture issn 2047-2773 Series Editors vanessa agnew, katharine ellis, jonathan glixon, & david gramit Consulting Editor tim blanning This series brings history and musicology together in ways that will embed social and cultural questions into the very fabric of music-history writing. Music in Society and Culture approaches music not as a discipline, but as a subject that can be discussed in myriad ways. Those ways are cross-disciplinary, requiring a mastery of more than one mode of enquiry. This series therefore invites research on art and popular music in the Western tradition and in cross-cultural encounters involving Western music, from the early modern period to the twenty-first century. Books in the series will demonstrate how music operates within a particular historical, social, political or institutional context; how and why society and its constituent groups choose their music; how historical, cultural and musical change interrelate; and how, for whom, and why music's value undergoes critical reassessment. Proposals or queries should be sent in the first instance to the series editors or Boydell & Brewer at the addresses shown below. Dr Vanessa Agnew, University of Duisburg-Essen, Department of Anglophone Studies, r12 s04 h, Universitaetsstr. 12, 45141 Essen, Germany email: [email protected] Professor Katharine Ellis, Department of Music, University of Bristol, Victoria Rooms, Queen’s Road, Clifton, bs8 1sa, UK email: [email protected] Professor Jonathan Glixon, School of Music, 105 Fine Arts Building, University of Kentucky, Lexington, ky 40506–0022, USA e-mail: [email protected] Professor David Gramit, Department of Music, University of Alberta, 3–82 Fine Arts Building, Edmonton, Alberta, t6g 2c9, Canada e-mail: [email protected] Boydell & Brewer, PO Box 9, Woodbridge, Suffolk, ip12 3df, UK email: [email protected] Previously published titles in the series are listed at the back of this volume.