1 The Tradition of Florentine by Liliana Celani, Kathy Wolfe, and Stephan Marienfeld

omposition of Classical music the tone is a very powerful one. register, with a mixture of both, and the Caccording to the Italian Renais- The basic elements of bel canto train- third register (also called registro di testa, sance principle of bel canto (beautiful ing are elevation, roundness of sound, or head register) with a predominance singing) is one of the best examples of vibrato, and clear registration. All of of the head voice. This is the register mankind’s ability to discover an existing these are produced using physical attrib- which requires most elevation of the physical principle, and to use that dis- utes of the universe, including the voice, or singing in maschera, in the covery to create new works of science human mind and body, which exist for mask, which means exploiting to the and art, which then increase humanity’s us to discover. utmost the bones and sinus cavities power to build civilization. Today, bel above and around the eyes. canto signifies the physical principle, Bel canto as a Physical Principle The Renaissance genius Leonardo da discovered in the Fifteenth century by Contrary to widespread opinion in the Vinci was the first to study how the Leonardo da Vinci (1452-1519) and his music world, bel canto is not merely the voice resounds in the head, in different collaborators, that the human singing Italian repertoire connected with locations according to the vowels used, voice is innately endowed with differen- Vincenzo Bellini (1801-1835), Gaetano which each have a different natural tiated voice registers and other qualities, Donizetti (1797-1848), up to Giuseppe pitch and a different placement in the which allow a composer to create a Verdi (1813-1901); rather, it is a scientif- head, and his drawings were incorporat- unique density of new ideas in a musical ic technique of singing, which makes ed in a treatise on the voice, “De Vocie,” work. such repertoire possible, and which which was unfortunately separated into This density of new ideas is essential composers such as Bellini and Verdi, but different sections, some of which are still to Mozart’s 1782-1785 “musical revolu- also J.S. Bach (1685-1750), Wolfgang included in the Codex Atlanticus. A tion” of Motivführung, as LaRouche has Amadeus Mozart (1756-1791), Ludwig famous bas relief by another Renaissance indicated in a number of writings.1 van Beethoven (1770-1827), up to genius, Luca della Robbia, kept in the Book I of A Manual on the Rudiments Johannes Brahms (1833-1897), had in Museo del Duomo in Florence, shows a of Tuning and Registration, Lyndon H. mind when they composed their vocal group of children singing bel canto, and LaRouche’s 1991 music textbook, docu- works—not only choral works and one can tell from the expression of their ments that for 400 years, from the 1430 but also Lieder (art songs)— faces which ones are singing in the Florentine Golden Renaissance to the which latter are the “Rosetta Stone” of third, high register, concentrating the death of Beethoven in 1827, the basic music, since they unify the beauty of sound in the head, and which ones are principles of bel canto were taught as a singing with the beauty of a poetic text, singing the medium and low parts. form of mass literacy to all children who consciously using all characteristics of The second element of bel canto, learned to read and write. the human singing voice (its differences besides the scientific use of the natural Bel canto shows itself in many ways in registers, color, dynamics, accents) in registers of the voice, and the conscious to be a physical principle naturally order not only to reflect, but even to balance between elevation (singing in embedded in the human voice, a physi- enrich the poetic text. the mask) and appoggio (support, which cal principle which the Renaissance The precondition for true bel canto is means supporting the sound sul fiato, masters discovered, rather than manu- impostazione, or placement of the voice “on the breath”), is the ability to obtain a factured. The most familiar example is (from the Italian word posto, “to place”): round sound by “covering” it, using that of the opera singer, who, with his or which means that with bel canto, the round vowels such as “o” (as in “mode”) her voice alone, fills with sound a hall of singer finds the best place to amplify the or even “u” (as in “mood”) in the third 4,000 seats, without amplification. Bel voice, simultaneously mobilizing all res- register. Aperto ma coperto (“open but canto also exhibits the quality of “least onating chambers (chest, throat, and, covered”) used to be the iron rule of the action,” in which the smallest physical particularly, head). The balance between old school of bel canto singing—an only effort produces the most powerful such resonating chambers will vary apparent contradiction, since it means result. Renaissance teachers would place according to the natural registers of the that the mouth has to be open, but the a candle before the student’s mouth, and voice, the first register (also known as sound covered. note that when a bel canto tone is pro- the “chest” register) with more chest res- The third element, which confers duced, the flame does not move, even if onance than head, the second, or center particular freedom and beauty to

30 singing, is vibrato, which should not be generally caused by a lack of appoggio, perceive a clear register shift from the confused with either tremolo or the trill. or support of the voice, and indicates a second to the third, high register (partic- Vibrato, the fleeting oscillation of the problem of intonation. (In most cases, ularly in the voice, which is voice between two pitches on either side singers who “go flat” or whose voices stronger), as a change of color. Third- of the conceived tone, is natural to the tremble, lack either elevation, or sup- register notes, if sung with the right voice, and is the effect of correct port, or both.) impostazione, have a particular brilliance, impostazione (placement). The trill, As Leonardo da Vinci indicated in which they lose if they are shouted, or which is a true half or whole step sung his treatise on the human voice,2 bel sung in the throat, where they become alternately in very rapid succession, has canto singing can be compared to paint- opaque. First-register notes, being sung the same musical meaning in singing as ing, because of the conscious use of “col- mostly with a chest resonance, are per- it has in instrumental, or composi- ors” in the voice, either as natural colors ceived as darker notes. This implies that tions; namely, to maintain a certain sus- (conferred by the different registers), or each note of the scale does not have the pension before going back to the tonic, as a conscious change of color for pur- same value for singing. or as a leading tone just before a modu- poses of interpretation. (For example, For example, middle C (c ) is a high lation. The presence of a tremolo, which great singers are able to make their voice note for a singer, who shifts to his comes from the Italian tremare, or trem- darker while singing a part in a Lied high register on d . The same note is a bling (of the voice), is a clear indication corresponding to a change in the poetic center-register note for the tenor, and is that the singer is suffering from a vocal- text, or a change from major to minor, a low, chest-register note for a technical problem. Tremolo is diametri- or to make it lighter in a particularly or a mezzosoprano, and, as such, it will cally opposed to a normal vibrato, and is joyful part.) Generally, the audience will be perceived differently by the listener, depending on who sings it. As the following musical examples demonstrate, great composers such as Concerning Musical Terminology J.S. Bach, Mozart, Beethoven, and Verdi were aware of these differences in regis- When specific notes are referred to in the text and in the musical examples, the following tration when they wrote their vocal nomenclature is used: works, and developed the well-tem- pered scale based on this palette of vocal colors. Not only notes, but also intervals œ œ œ œ œ œ œ œ œ have a different value according to the & œ œ œ œ cœ′ dœ′ e′ f′ g′ a′ b′ c″ d″ e″ f″ g″ a″ b″ c′′′ register and scale in which they are œ œ sung. ? œ œ œ œ œ œ œ œ œ For example, the same interval cre- œ œ œ ates more or less musical tension as the Bœ′ Cœ D E F G A B c d e f g a b c′ distance between the tonic and the note corresponding to the register shift is There are instances when not a specific note in a specific register, but, rather, a gener- smaller or greater. In the mode of C al member of the scale is being referred to. In such instances, a capital letter is used. major/C minor, a diminished fifth, or Vocal registers are indicated in some musical examples. The chart below shows how Lydian interval (c to fˇ ), corresponds the first (“chest”) register, the third (“head”) register, and the fourth (“super-high”) regis- to a register shift for a tenor and a sopra- ter are marked. There is no special marking for the second (“center”) register. See Figure no, in two different octaves; while the 1.2 for the specific register-shifts in each of the six species of human singing voice. interval corresponding to a register shift for a voice is that of a third (c œ œ to e ). But in another key, the register & œ shift of both voices corresponds to a dif- œ ferent interval (closer or more distant First Second Third Fourth (“chest”) (“center”) (“head”) (“super-high”) from the tonic). register register register register Composers chose the key for their arias or Lieder with the awareness that Other passages of special interest in the musical examples, are highlighted by horizon- certain intervals would correspond to tal brackets: the natural register shifts of the voice- Highlighted passage species of the intended singer. Since instruments are an imitation of the bel # & c œ œ œ œ ˙ canto singing voice, they echo the natur- ˙ al registration of the six species of voices, the only difference being that they intro-

31 shift, between f and g , at fˇ . The regis- soprano, mezzosoprano, contralto, FIGURE 1.1 The child’s universal division ter shift is natural, and the scale con- tenor, baritone, and bass—each contain- forms to nature. ing three or four different registral of the c′-c″ octave Voices which shift here are called “voices,” a well-defined palette of colors, I F# II soprano, and all children, if taught to with which to “paint.” sing from age five as they ought to be, Bach’s St. John Passion is a good & œ œ œ œ œ œ œ œ experience this basic register shift for example of both bel canto singing and several years, until puberty. Motivführung, since it uses voices and As children mature, girls develop instruments (as imitation of human duce a new degree of freedom, often into adult or mezzosopranos, voices) in a musically dense and pro- allowing motivic development, by mov- while boys develop a lower octave and found dialogue, starting with the instru- ing from one voice to the next (a ’cello become , , or basses. But mental and choral introduction, which can, for example, start out as a baritone the intervals of each voice remain divid- is one of the most beautiful works ever voice, and can then move to a tenor ed into three or four qualities of distinct written. The orchestra and the singing voice, with its different array of regis- voice register (Figure 1.2). In addition solo instruments ( I and II, and ters). to the first register, shown here as a solid transverse ) introduce the four voic- It was found that the average child’s black bar, and the second register, es of the choir on the initial invocation voice develops best when taught to shift shown here as a white bar, there are also “Herr, unser Herrscher” (“Lord, our to a new register on the second half of the higher, third and fourth registers, Ruler”), which already in the first few this scale (Figure 1.1). It was, in fact, in each with its own different register-shift measures (Figure 1.3a) traverses the this way that “middle C” became mid- point. entire palette of vocal registers and col- dle C: Only the octave of eight diatonic Thus, when a composer goes to con- ors of the four choral voices (soprano, notes which starts there, will find itself struct a musical composition, he has six alto, tenor, and bass) in four different divided in half, by the child’s register species of the adult singing voice— combinations of notes and of intervals,

FIGURE 1.2 The six species of human singing voice, and their registers

Middle C F #

do re mi fa sol la ti do re mi fa sol la ti do re mi fa sol la ti do

C C C D E F GA B C C

64 128 256 512 1024

Soprano

A F F# F F# B C G Alto (mezzosoprano) * F Eb En Eb En A Bb Bn Contralto

D C# D C# D G Tenor

A B C F F# B C F First register Baritone Second register Third register F A Bf E E A # b n Fourth register Bass * Mezzosoprano “Verdiana” is not strictly a D G A b C# D G fourth register .

32 corresponding to vocal registers. In the first one and a half measures of the FIGURE 1.3 choral entrance, four third-register notes Register shifts in opening of J.S. Bach’s St. John Passion are sung, in succession, first by the (a) 19 20 (b) 23 24 sopranos (on g ), next by the tenors (on Soprano b œ œ b œ œ & b Œ Œ œ & b Œ Œ œ another high g ), and finally by the Herr, Herr, Herr Herr, Herr, Herr tenors and basses together (the tenor on fˇ and the bass on an e˛ ). The audience Alto b b & b œ Œ œ Œ œ & b œ Œ œ Œ œ will therefore perceive not a simple rep- Herr, Herr, Herr . . . Herr, Herr, Herr etition of the invocation “Lord,” but bœ Tenor b œ #œ b œ rather an increasingly dramatic invoca- V b œ Œ Œ V b œ Œ Œ tion, with the sopranos emerging first Herr, Herr, Herr Herr, Herr, Herr on the high note, the tenors most promi- œ œ œ Bass œ œ nœ nent on the second, and the basses on the ? bb Œ Œ ? bb Œ Œ third. The second invocation, in mea- Herr, Herr, Herr Herr, Herr, Herr sure 23 (Figure 1.3b), is again trans- formed, because of a modulation, with the soprano emerging first on the high FIGURE 1.4 g , and the tenor jumping at the end Conclusion of Mozart’s ‘Das Veilchen’ from a central-register e to a very high rallent. a˛ on measure 24, which will be heard Voice # nœ nœ bœ œ œ œ. even more by the audience, since high & J ‰ J #œ ‰ œ J nœ œ notes in the tenor voice (assuming that Es sank und starb undJ freut sicRh noch:J the tenors in the choir are singing bel # bœ œ j j canto) have a particular brilliance. The & ‰ ‰ œ ‰ bœ ‰ b#œœ ‰ œœ nœ. Piano J J œ. invocation “Lord, our Ruler” will there- prallent. fore sound different all four times; and j ? # ‰ ‰ œ ‰ bœ ‰ nœ ‰ œ. if one were to mark the four vocal parts œ J J J with colored pencil, the vocal palette strin - --- - gen - would shift four times, as if in a time- # j œ. r j j œ. r j lapse weather map. & œ J œ œ œ J œ œ Mozart’s Lied “Das Veilchen” is an und sterb ich denn, so sterb ich doch example of how music can not only # j œ œ œ œ œ œ œ œ œ œ reflect, but even enrich a beautiful poetic & œ œ œ œ œ œ text, as in this case with a poem by J cre - -- - Johann Wolfgang Goethe. In two short ? # j œ j œ pages, Mozart develops almost a small œ œ ‰ œ œ ‰ comic opera, based on two main charac- - do rallent. ters: the little violet, described in the . œ œ # j œ œ R œ œ r “Allegretto” opening, and the shep- & œ J R R œ œ. œ œ œ Œ herdess, passing by “with light step and durch sie, durch sie, zu ih-ren Fü - ßen doch. œ œ merry heart, and singing” (at which # œ œ œ œ œ œ œ j point the piano accompaniment sings a & œ œ œ œ œ œ œ œ œ. œ œ Œ œ œ œœ œ œ œ œ œ œ merry tune for her). The irony of the - - scen -- - - - do rallent. poem lies in the fact, that the violet falls j œ j f ? # ‰ œ œ œ œ Œ hopelessly in love with the shepherdess, œ œ œ œ œ œ œ œ and wishes to be plucked up by her; but, a piacere a tempo p in the second part of the Lied, which # j j U j œ. r suddenly turns dramatic, the shep- & ‰ œ œ œ œ œ Œ ‰ œ œ œ œ œ œ œ Œ DJas aJr - meJ Veil - chen! Es waJr einJ heJr - zigs Veil - chen. herdess does not see the violet, and steps right on top of it. The transformation of # U j Œ ‰ œ œ œ œ ‰ œ œ Œ the poem, and the song, happens at this & ˙˙ œœ œ œ œ œ œ œ ˙ œ a. tempo œ œ point (Figure 1.4), because the violet p arpeggio f p “sinks, dies, but is happy about it never- ? # U œ œ œ œ ˙ œ Œ ‰ œ œ œ œ ‰ œ Œ theless,” declaiming, in a final “stringen- ˙ œ J œ œ do” (which means accelerating in speed),

33 that “even if I die, so I’ll be dying because of her, at her feet!” FIGURE 1.5 Musically, this transformation of the Mozart, ‘Abendempfindung’ poetic text is emphasized by the main Voice œ œ œ œ œ œ register shift of the soprano, on the fˇ of & b œ ˙ œ œ œ ˙. œ.œ œ œ ˙ œ œ œ “durch sie” (“because of her”), which is sie wird die schön-ste Per - le sein, die schön -- - ste not justified by a modulation (the key is œ œ œ œ G major), but simply as an ironic disso- & b Œ ‰ œ œ œ œ œ œ œ ‰ œ œ Œ ‰ œ œ œ œ œ œ œ Piano œ œ œ œ œ œ œ œ œ œ œ nance, resolved immediately afterward œ œ œ by a second “durch sie” on a high g . To ? Œ Œ ˙ œ Œ Œ ˙ b #œ nœ œ w œ #œ nœ œ make the ironic transformation of the #œ ˙ nœ œ w #œ ˙ nœ œ poetic text even more so, Mozart adds a final stanza which is not in the Goethe & b . œ. œ œ original: “The poor violet! It was a dear P˙er - le sein. little violet.” One of the most profound among & b ‰ j œ œ œ œ vocal works is Mozart’s Lied œ œ œ œ “Abendempfindung” (“Evening Senti- ? b w ment”). Composed after the death of his w œ father, it is a reflection on the meaning œ of life and death, on what we shall be remembered for after our death. The FIGURE 1.6 key to the song is the final metaphor Mozart, ‘Abendempfindung,’ registration at c′=256 and a′=440 (Figure 1.5), which goes beyond a mere simile (between the tear of the friend (a) At c′=256: crying on one’s grave, and “the most ˙ bœ bœ œ œ b c bœ . œ œ œ. œ œ œ bœ beautiful pearl in my diadem”), by the & trau - ernd mei - - - ne A - - - sche sehn,œ repetition of the word “pearl” three ′ times, first on a low f (not shown), then (b) At a =440: on a g (a central-register tone for the ˙ bœ bœ œ œ b c bœ . œ œ œ. œ œ œ bœ soprano voice), and finally on an even & trau - ernd mei - - - ne A - - - sche sehn,œ lower and darker e , in the first, chest register. This metaphor, the idea that life continues after death, pervades the ing over my ashes”) (Figure 1.6a). If ly, but still with a sustained voice right entire Lied, not only in the ending performed with the modern, high tun- after the rest.) metaphor, but also in the beginning, ing (a =440 Hz to a =448 Hz) (Figure An example of how the same interval when the line “Shall you then cry over 1.6b), the song is completely disfigured, has different values for different voices, my grave” (“Werd’t ihr dann auf since all the center f s become fˇ s, and is the famous quartet from Beethoven’s meinem Grabe weinen”) is rendered the singer is forced to interrupt those Fidelio, “Mir ist so wunderbar.” Four of musically by Mozart not with sadness, key phrases with an unwanted shift into the six protagonists of the opera but with joy. the high register, thereby completely (Leonore, wife of Florestan, who has Apart from this shift to the low regis- spoiling the poetic interpretation. been unjustly imprisoned; Rocco, Flo- ter, there is no spectacular shift to the Rather than high notes in the third restan’s jailer; Rocco’s daughter high register in this Lied, and for a good register, the technical difficulty of this Marzelline; and Jaquino, Marzelline’s reason: It is intended to move the listen- song, which requires a total mastery of fiancé) sing in canon form, one after the ers, conveying to them the calm bel canto technique and breathing, is the other, the theme of the quartet (Figure metaphor of the evening as the end of frequent rests interrupting the phrases, 1.7), while the others develop a counter- life, and the only dramatic jumps are the and in some cases even between syllables point to it, which culminates in the final interval of a minor seventh between the of the same word. (For example, on section, when all four voices crescendo, g and f of “fliesset schon” (“[the “mir weht, wie West—wind leise, eine and then come together on a sudden friend’s tear] is already flowing”), and stil—le Ah—nung zu,” meaning that a “piano” on “wie gross ist die Gefahr” the major sixth between the a˛ and the silent presentiment of death comes upon (“how great the danger is”). The theme f in the crucial, modulation section, me like a gentle west wind, with the “Mir ist so wunderbar,” remains the “Werd’t ihr dann an meinem Grabe words “silent presentiment” split by two same throughout, although the words weinen, trauernd meine Asche sehn” dramatic rests, signifying the dramatic change for each character, but the audi- (“Shall you then cry at my grave, mourn- presentiment, which must be sung soft- ence hears the beginning couplets (d -b

34 tra introduction, particularly the ’cello FIGURE 1.7 and parts, which sometimes play Quartet from Beethoven’s Fidelio, the four singers’ entrances in counterpoint, or sometimes double the voices (Figure 1.9), already supplies Marzelline # 6 œ œ j œ & 8 J œ ‰ J œ ‰ œ four different colors and two register Mir isJt so wuJn - der - bar shifts.

Leonore # 6 œ œ j œ The Songs of Franz Schubert & 8 J œ ‰ J œ ‰ œ Wie grJoß ist diJe Ge - fahr Every one of Franz Schubert’s greatest Lieder, beginning with his Op. 1 œ œ œ œ œ “Erlkönig” (“The Elf-king”) and Op. 2 Rocco ? # 6 J J ‰ J J ‰ œ 8 Sie liebt ihn, es istJ klar “Gretchen am Spinnrade” (“Gretchen at the Spinning-wheel”), and ending with his last songs in the posthumously pub- Jaquino # 6 œ œ ‰ œ œ ‰ j œ V 8 J J J J œ lished “Schwanengesang” collection, is, Mir sträubt sich schon das Haar from the first to the last note, a perfect whole. Schubert transforms the metaphor of a poem into a precise musi- FIGURE 1.8 cal idea that reveals the true essence of ‘Mir ist so wunderbar,’ register shifts in opening interval the poem. He composes a perfect musi- cal unity by using the method of motivic Tenor registers II I Bass registers III II II II Soprano (no shift) thorough-composition of Haydn, œ œ Mozart, and, especially, Beethoven. ? & œ œ In his compositions, Schubert not only transforms the score of the poem (strophic form, harmony of vowels and consonants, prosody, declamation, etc.) FIGURE 1.9 into music, but also consciously employs Instrumental voices in ‘Mir ist so wunderbar’ quartet the characteristic quality of sound of the Introduction, ’cellos and basses: human singing voice. Schubert was edu- Andante sostenuto cated as a singer. He knew the exact . j j nature of the registers of the singing Violoncello I & II ˙. œ œ œ œ. œ. œ. œ œ. ˙. ? # 6 ˙. œ œ œ J œ. œ. œ. nœ œœ ˙œ. ˙. voice, and how to use their different col- 8sempre J J cresc. ors in his compositions, to throw a spe- pizz. p F cial light on the crucial poetical concepts. Basso ? # 6 œ j œ j 8 ‰Œ J œ ‰ Œ œ ‰ œ ‰ J œcresc.‰ Œ œ In the second stanza of the song œ 2 J 3 œ œ 4 œ 5 œ 6 p œ F “Gretchen am Spinnrade,” Schubert echo Marzelline: takes the soprano voice into the third 13 14 15 16 register only on the word “Kuss” Clarinets (C) # 6 j j (“kiss”) on the note g . This “Kuss,” & 8 œ œ. œ œ œ œ. œ œ œ œ œ œ œ. œ ‰ n œ œ. œ œ œ ˙. œ œ œ œ compared to the words “Zauberfluss” J cresc. J œ œ œ œ. œ F p (“magical flow”), “Händedruck” (“pres- Marzelline # 6 œ œ j j œ sure of [his] hand”), and “ach” (“oh!”), & 8 œ œ œ œ œ œ ≈ œ œ œ j j œ ‰ erJ liebt michJ , es ist klar,œ œ ichJ wer - dJe glück-lich,œ glüœck-licœh sein! has a totally different color and weight. In a musical tuning higher than a =432 Hz, this difference disappears, because twice, and the inversion g -d ) different- than the sopranos). If one places each the soprano has to shift into the third ly, because they are sung first by the two voice’s opening two notes on the same register already on f . sopranos (Marzelline being a light staff (Figure 1.8), it can be seen that The use of the shift from the second soprano, and Leonore a lyric-dramatic they range through two different to the third register within the song as a one, with a darker timbre), then by the octaves, and two different register shifts. whole, is very interesting. The ritornello basso Rocco, for whom the d -b interval A simple interval of a minor third “Meine Ruh ist hin” (“My calm is is also a shift from the third to the cen- downward, followed by a fifth upward, gone”), which is repeated twice, has no tral register (whereas for the other three on which the whole quartet is built in shift into the third register. The first singers it implies no register shift), and terms of motivic development, thanks to strophe (Figure 1.10a) only touches the finally by the tenor (one octave lower the counterpoint supplied by the orches- third register at “mein armer Sinn”

35 (“my poor mind”); in the second strophe there is only one shift into the third reg- FIGURE 1.10 ister on “Kuss” (Figure 1.10b), and in Schubert, ‘Gretchen am Spinnrade’ the last strophe (Figure 1.10c), the third (a) First strophe: register is used several times up to œ œ. œ œ œ œ. œ œ œ. œ œ œ œ. œ “vergehen” (“to swoon”) on the highest & b 68 J J J ‰ J J J ‰ note a . Schubert increases the density of Mein ar - - mer Kopf ist mir ver - rückt, the register shifts in each strophe, which œ œ. œ œ œ œ. œ œ bœ. œ perfectly corresponds to the idea of the & b J J J ‰ J œ œ poem. mein ar - - - mer Sinn ist mir zJer - stüœckt. In the song “Du bist die Ruh” (“Thou (b) Second strophe: Art Calmness”), only in the final strophe does Schubert take the soprano (or tenor) œ bœ œ. œ. œ œ bœ œ. & b 68 œ œ. œ J œ. J J J Œ ‰ voice into the third register (Figure undJ sei - J- J- ner Re - de Zau - - - ber - fluß, 1.11). Only the stressed syllable of the U word “erhellt” (“illuminated”) in the line œ. œ œ œ. œ. ˙. œ. ˙. & b Œ ‰ Œ ‰ Œ ‰ “von deinem Glanz allein erhellt” (“illu- sein Hän - dJe-druck, und ach, sein Kuß minated by thy brilliance alone”) on the notes g -a˛ (or, for the tenor, g -a˛ ) is (c) Final strophe: œ. œ sung in the third register. In this way, 6 œ œ. œ œ œ œ. œ œ #œ œ. Schubert highlights the idea of the entire & b 8 J J J J J ‰ J an sei - - nen Küs - sen ver - ge - henJ sollt poem. “Aug’ und Herz” (“eye and heart”) are filled with the brightness of the voice’s third register. The first three stanzas of the song FIGURE 1.11 “Gute Nacht” (“Farewell”), which is the Schubert, ‘Du bist die Ruh’ first in Schubert’s song cycle “Winter- reise” (“Winter Journey”), are musically œ œ œ. œ. bb 3 œ œ. œ bœ œ bœ œ œ œ J set in essentially the same way (except & b 8 J J R J J J for some variations in the third stanza). Dies Au - gen - zelt, von dei - nem Glanz al - lein er - hellt, The tenor voice begins each stanza with an f in the second register, and takes the phrase down into the first register FIGURE 1.12 (Figure 1.12a). But in the fourth and Schubert, ‘Gute Nacht’ from Die Winterreise final stanza, this is changed. Schubert sets the last stanza in D major, as (a) First stanza: opposed to the D minor of the first three œ œ œ j œ j & b 24 J J œ j j œ . r œ stanzas. The tenor must now begin the Fremd bin icJh ein - gœe - zœo. -œ genœ , fremdJ zieh icœh wie œ- œderœ ausœ phrase on fˇ in the third register (Fig- ure 1.12b). In the first three stanzas, the (b) Fourth stanza: lonely wanderer looks in wistful resig- ## 2 œ œ œ j j j œ. r nation at the gloomy world. His “fein & 4 J J J œ œ . œ œ J œ œ œ œ Will dich im Traum nicht stœö - renœ , wJär œ œ Liebchen” (“dear beloved”) loves anoth- schad um dei - ne Ruh er, and he was turned out and driven (c) Conclusion: away. In the last stanza, there arises once ## 2 j j œ œ œ œ j j nœ œ œ œ again a faint glimmer of hope, “damit & 4 œ œ J J J ‰ œ œ J J J du mögest sehen, an dich hab ich an dich hab ich ge - dacht, an dich hab ich ge - dacht gedacht” (“so that you might see, that I’ve thought of you”). But it is only a self-delusion, and the wanderer painful- As with Mozart,3 Giuseppe Verdi ment, Quintino Sella, who was a friend ly knows it. In the last line of the song, also confided to his contemporaries that, of Verdi’s (besides being a composer, Schubert sets “an dich hab ich gedacht” when he was writing a piece of music, Verdi was also a patriot and a member (“I’ve thought of you”) for the first time the idea of the music first came to his of the Italian Senate): “One day I asked on fˇ in the third register; and then a mind as a single thought, as a “one” uni- him, ‘When you compose some of your second time, as a resigned echo of the fying the “many” aspects of it (voices, beautiful pieces of music, how does the first one, on the note f˝ , back in the instruments, registers, etc.). To cite from thought come into your mind? Do you tenor’s second register (Figure 1.12c). a letter by an Italian member of parlia- first have the main theme, then you

36 fected by Beethoven (especially in his late FIGURE 1.13 quartets). Lyndon LaRouche, with whom Phases in ‘O cieli azzurri’ from Verdi’s Aida Brainin discussed the concept of motivic thorough-composition intensely in the fol- (a) Second register only: lowing years, pointed especially to the influ- ence of J.S. Bach on Mozart’s deepening of ˘œ ˘œ ˘œ œ œ . . . . & b J J J J œ œ œ œ œ œ. this method of composition of Haydn, and in o pa - tria mi - a, maJ i piRù tRi rRi - vRe - drò! numerous publications, demonstrated the significance of this concept not only for the (b) Third register: rall. entire domain of Classical music, but also for cresc. science in general. See Lyndon H. f . j π ^ œ. œ. œ. . . . œ œ œ œ j b œ. œ œ œ œ œ r j œ c LaRouche, Jr., “That Which Underlies & J J J J J J œ œ œ r œ œ œ œ Motivic Thorough-Composition” (EIR, Sept. oh pa - tria mia, oh pa-tria mi - - - a, maœ i più ti ri - vJe - drò! 1, 1995) (Vol. 22, No. 35); “Behind the (c) Fourth register: dolce senza affrett. Notes” [introduction to the forthcoming cresc. Book II of A Manual on Tuning and Registra- π œ œ. œ . tion; see reference note 3], Fidelio, Summer, bœ œ bœ œ nœ bœ nœ œ. . r r j b J J J œ œ. œ r œ œ j c 1997 (Vol. VI, No. 2); and other locations. & R R œ. œ J œ œ œ no, mai più non ti ve - drò, non ti ve-drò mai più! 2. Fragments of Leonardo’s treatise on the human voice, contained in the Codex combine it with the accompaniment, Before going up to a super-high c in the Atlanticus (which is kept in the recently restored Biblioteca Ambrosiana in Milan), are and then you study the nature of the fourth register (the so-called “chest C” or observations on acoustics (creation and prop- accompanying voices, , violins, do di petto), the soprano Aida repeats the agation of sound, how intervals are heard by etc.?’ ‘No, no, no,’ the famous maestro phrase “oh patria mia” (“oh, my father- the human ear), and prove the fundamental interrupted me with great animation, land”) three times on an accented f , principle of the connection between art and ‘the thought comes to my mind in a always with a crescendo on “patria mia” science. For example, Leonardo compares complete form, and I know immediately (Figure 1.13a). The choice of the f on sound waves to water waves, or the way whether the note should be from a flute frequent enunciation of the vowel “a”—a intervals are heard not as single notes, but as a harmony between notes, to the way the rays or a violin. The difficulty lies in writing vowel which is generally difficult to sing of the sun are held in the eye: “like the note in it down quickly enough to be able to properly in the third register—indicates the ear, which, unless it preserved the express the musical thought in its that Verdi wanted this phrase kept in the impression of the notes, could never derive integrity, as it came to the mind.’ ” center of the voice, and that the shift to pleasure from hearing a voice alone; for, Verdi was perfectly aware of the bel the high register should only follow on when it passes immediately from the first to canto characteristics of the singing voic- the third repetition of “oh patria mia” the fifth note, the effect is as though one es, and this is why, in 1884, he promoted with a jump to the high a , sung forte heard these two notes at the same time, and thus perceived the true harmony which the legislation in Italy to return to the scien- (Figure 1.13b). If sung in the modern first makes with the fifth; but if the impres- tific tuning of c =256 Hz (correspond- high tuning, as Antonella Banaudi sion of the first note did not remain in the ear ing to a =430-432 Hz), because already demonstrated at her presentation in the for an appreciable interval of time, the fifth, then, as today, many opera theaters had Casa Barezzi, first on a modern piano, which follows immediately after the first, tuned up to a =450. and then back at Verdi’s tuning on would seem alone, and one note cannot create Many of Verdi’s famous opera roles Verdi’s own fortepiano, all those f s any harmony, and consequently any song whatsoever occurring alone would seem to be were written for a specific singer whom become fˇ s, and are either sung already devoid of charm.” See Emanuel Winternitz, the composer had in mind. In the case of in the third register, or else are shouted, Leonardo da Vinci as a Musician (New Haven: Aida, the aria “O cieli azzurri” (“O azure reducing the possibility of the singer to Yale University Press, 1982), p. 123. skies”) (written for a darker, lyric sopra- jump up to the high a , and then to the 3. Wolfgang Amadeus Mozart, in 1790, no voice) changes completely if it is sung super-high c of “mai più” (Figure described how the idea of a Lied came to his in the modern high tuning. This problem 1.13c). mind: “This inflames my soul, whenever I was demonstrated in November 1997 by ______am not disturbed. It grows continuously, and dramatic soprano Antonella Banaudi, at 1. The notion of Motivführung (motivic I broaden it even wider and brighter, and the a presentation of the newly published thorough-composition) was introduced by thing becomes truly almost complete in my Professor Norbert Brainin in the early head, even if it is long, so that from that Canto e Diapason, the Italian edition of 1990’s, in order to characterize the “totally point on, I view it with a single glance, exact- Book I of the Schiller Institute’s A Manu- new, special kind” of composition, with ly like a beautiful picture of a pretty girl, al on the Rudiments of Tuning and Regis- which Joseph Haydn had announced his Op. from above, in my mind. And in my imagi- tration, held at the Casa Barezzi in 33 “Russian” Quartets in 1781. Brainin nation I don’t hear the parts successively, one Verdi’s home town Busseto, with the pointed to the fact, that with this method, after the other, but I hear them all at once.” famous Verdi tenor Carlo Bergonzi, the Haydn had unleashed a true revolution in (Quoted in a letter published by Rochlitz.) famous Verdi baritone Piero Cappuccilli, the mode of composing string quartets, a See A Manual on the Rudiments of Tuning and method which was immediately picked up Registration, Book I, ed. by John Sigerson the organist Arturo Sacchetti, and Lyn- by Mozart (especially in his six string quar- and Kathy Wolfe (Washington, D.C.: don H. LaRouche as main speakers. tets dedicated to Haydn), and was later per- Schiller Institute, 1992), p. 204.

37