Tonal Identity in Simon Boccanegra Faun Stacy Tannenbaum New York University

Verdi Forum

Number 13 Article 3

1-1-1985 Tonal Identity in Simon Boccanegra Faun Stacy Tannenbaum New York University

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Recommended Citation Tannenbaum, Faun Stacy (1985) "Tonal Identity in Simon Boccanegra," Verdi Forum: No. 13, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss13/3

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Keywords Giuseppe Verdi, Simon Boccanegra

This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss13/3 Tc::>n.a.l Identity in. S~on. Bo c.c.a..n.eg.-"l..a.. by Faun Stacy Tanenbaum, New York University

It was Heinrich Schenker's son of specific foreground and contention that a musical work middleground events reveals could be properly presented only significant elements of Verdi's if the performer understood the style, and suggests possible composer's concept, and had a reasons for the revisions . perception of the piece as a Regardless of the nature or whole. Schenker was also one of size of a work, Schenkerian the first to consider the study thought acknowledges the of autographs and first editions requisite of repetition as the an essential prerequisite for one crucial imperative for the preparation of analytic thematic content.2 In this performing editions. These paper, the concept of 'concealed ideas are, I think, especially repetition' (ve4bo4gene Wiede4- relevant to Verdi studies. ho.iung) , the uncovering of a This paper concerns Verdi's non-obvious repetition through revisions for 1881 of the 1857 structural analysis, has proven S-imon Boccaneg4a from a Schen a rewarding analytical tool in kerian perspective.! A compari- studying the revisions, and has led to exciting conclusions. As Verdi revised he moved towards lsince the autograph of greater thematic unity and more Simon Boccaneg4a was not meaningful expression of the available, the following printed drama. materials preserved on microfilm The story of Simon 8occaneg4a at the Verdi Archive at New York includes two important charac University were consulted: ters who undergo an actual or Vocal score, Paris, Escudier perceived change of identity. (L.E. 1720) ca. 1857, henceforth Accordingly, my analytical pvEs57; vocal score, Milan et al, Ricordi (47372) 1881, henceforth pvRr81; a printed 2see John Rothgeb, "Thematic orchestral score of the revised Content: A Schenkerian View," version, Milan, Ricordi (P.R. in A.6pec.t6 o~ Schenk~an Theo4y 152); libretto, Venice 1857; (New Haven: Yale University libretto, Milan 1881. Press, 1983).

20 procedure led to a concept which palace, F'iesco bids farewell to I refer to as 'tonal identity'. his daughter, Maria, who had I will demonstrate one particu just died: la1· 1·0 1 ;1t.ions h .lp, Vl!1·dl' :; ui.; o of F-sharp as a tonality, a A te l'estremo addio, palagio consonant tone within a harmony, altero, and an enharmonic entity, as the Freddo sepolcro dell'angiolo basis of a conceptual tonal mio! ... identity. 3 Ne a proteggerti io val In the Prologue, Si mon's s i ! ... Oh maledetto! . .. rst personal reference, E tu Vergin, soffristi iginally in G- sharp in 1857, altered to F-sharp in 1881 : Here B minor is associated wit~ ffi Maria, and D major with the Ex.ample 1 Virgin. The common tone F-sha a . pvEs57 p.7 b . pvRr81 p.5 is essential, as is the common ~. name (Example 2). The central r elationship is strengthened as & II Fi esco then laments in F-sharp ll*C minor, closing with a call for her prayer, 'Prega, Maria, per Entering the stage from his me', in the major (Example 3).

Ex.amQR.e 2 pvRr81 p . 22 Fiesco, mm.1-15

3Ther e i s a similarity concept 'tonal sonority' of between the pr es ent author' s Pierluigi Pe t robelli, "Per term 'tona l identity' and t he un 'eseges i del la struttura 2.1 Ex.amp.Ce 3 a. pvRr81 p.23 Fiesco: "Il lacerate spirito Del mesto genitore"

_l_ ::a:~ :I: F. z __!£_

;rt ::l!: ~~ _!:: ..L I i 17 f

b. pvRr81 pp.25-26 Fiesco: "Prega, Maria, per me."

When Simon seeks Maria in the turally prominent tone , and the Prologue, F-sharp is the struc- linear thirds seemingly echo the three syllables of 'Maria' (Example 4). Verdi chose D drammatica del 'Trovatore' , " in major for Simon's approach to AW dei. 111 Cong.l[.U40 intel[.na her corpse , but as Simon z.lonale d.l S.tU!li. Vel[.d.lan.l, M.dan realizes Maria's fate, F-sharp 1972 (Parma, 1974), translated is dramatically altered to by William Drabkin as "Towards F-natural (Example 5). This an Explanation of the Dramatic also prepares for the diminished Structure of TR. T.l[.ova.to.l[.e," in seventh which leads to the final Miv...lc Analy4.l4 I/2 (Oxford, key of the Prologue, F major . 1982) and Martin Chusid, "Rigoletto and Monterone: A Study in Musical Dramaturgy," in P.l[.oceed.lng6 o~ .the XI Cong.l[.uo (Copenhagen, 1974), reprinted i n o~ .the I l'lte)[.ncz.t.lo nal Miv...lco - V~ Boli.e.t.t.lno IX ( Parma , iog~cal Soc.le.ty, Copenhagen 1972 1982). (Editor's note). 22 Ex.amp£ e 4 pvRr81 p.28 nun.1-10 Simon: "Suona ogni labbro il mio nome. 0 Mi.11· ia, Forse in breve potrai Dirmi tuo sposo! . .. "

Ex.amy;i.e 5 pvRrBl pp.40-41

, ___ -

Amelia's first cantabile, "Corne in quest.' ora bruna," is Il tetto disadorno filled with reflections and Non obliai per te ... reminiscences. Within this piece in E-flat major, one Here Amelia, (whose real name phrase moves through the remote is Maria), recollects the humble D major. Initially set to the dwelling of her childhood. text, "Corne s'unisce, o luna, Verdi's use of D major is a all'onda il tuo chiilror!". its musical reference which reculls significance becomes clear in her identity as the daughter of the t·epr ise: the deceased Maria.

23 Exampte 6 pvRrBl pp.50-51 ITVll.2-9 Amelia: "Come in quest'ora bruna"

ff----'--'

In the Council Chamber p.132). By notating this scene, Verdi proceeds from passage in F-sharp, Verdi E-flat minor to the enharmonic prepares for Amelia's entrance relative major, F-sharp, first and the "Pace" theme. perceived as G-flat (pvRr81 Ex.ample 7 pvRI81 pp.136-137 Amelia: "Pace" theme

~J.. .J., ..L L +- ..,. ::A ..It. I[ ...... 3oi. 'L ::1L "" ~ 7.i~--..: ='- ,,,, f- " ~-

Before the duet in F-sharp allows a smoother transition to minor, "Parla in tuo cor virge the duet, but in accord with neo," Vet·di made an interesting Amelia's secret, "concedi, che revision (Example 8). In 1881, il segreto non aprasi ancor," the earlier introduction of supports the dramatic implica F-sharp than previously not only tion of her tonal identity.

24 E.x.ampte 8 Amelia: "Concedi, Che il segreto non aprasi: ancor . " a. pvEs57 p.173 A ,.. , ....z. _l ..1' d ~ ~ i ::z: ~ ::zJ.A :::Z:::f ~ :::!: R.J .L -, /'arl4., i11 ;~, ur, , ,

.1 + ...ii.. :c_ :a, ..k...2.. .:I=.. L CJ[I .:A J...... !!l. :..!: :I b. pvRI81 p. 169 ,vj, ~ l 4 "J_ =t- I :a. ~ ~ :::IZJLI I - f,,~,, /"1 fu,, (.ir, , ,

_.!._ ~ +- :a: :ii: ::a :Li:~ ...... L ...------_ :3[ ~ From this point on, the Simon's enemy, Gabriel Adorno. enharmonic rel ationship of Upon reconciliation of their F-sharp . and G-f lat plays a differences, the Doge continues fascinating role in relation to in the key of G-flat. But when the changing percepti ons of the Amelia introspectively remarks: characters' true identities . In "(Gran Dio! come salvarlo?)", Act II, Amelia, a l one with her Verdi notates her part in the father, tells of her love for enharmonic F-sharp.

E~te 9 pvES 7 p.183

_l_ '{6' -f~] 0 "' Lucia C'h io n,:li al luo fianC'o ••• . Padre!. , ~.& ~A ( Gnn ~~ ·~ ~.:~ ..- -:§ D~~, f 1., ~r t t · ~k 1 p P:+-+-:..:.µt.· -ror•··· .-- .No, ta r1.Jr¥J1 ..• 11 •or;lio ••• . j_ ... __ ._ ~:or·-..- •• - -- I~? --j I ·v-

25 Gabriel is about to take tion, in this case an augmented revenge on the already poisoned 6th. I find this to be a Simon when Amelia interrupts him recurring stylistic feature in to reveal that Simon is her Verdi's works. Furthermore, it father. With this revelation shows the neighbor-note rela the enharmonic shift recurs, but tionship B-flat-C-flat-B-flat, this time from the note F-sharp which is the principal design to G-flat (Example 10). This element for Gabriel's following passage is also noteworthy in aria 'Ferdon, perdon Amelia' that it demonstrates the (Example 11). .The S-bb-~ motive interpolation of another chord is an important unifying factor between the ~ and its resolu- in S.

Ex.amp£.e I 0 pvRI81 p.189 Gabriel: "Suo padre sei tu!"

Ex.amp£.e 11 pvRI81 p.190 Gabriel: "Perdon, perdon Amelia"

In the revised opening of Act III, the S-b~-S motive is again prominent, and since it is also 4In an otherwise valuable the last strain to be heard at article, Edward T. Cone "On the the very close of the opera, Road to .otello," S.tucU Velt.cUan-i. thereby frames the final act. I (1982), places emphasis on

26 Ex.ampf.e 12 pvR18l p.203 Act III opening I\ S'

The anticipation of the bvr the revi sion which dramatically (G-flat) in Gabriel's aria in delays the arrival of this 1857 is much less effective than significant chord.5

Ex.amp.le 13 a. pvEs57 p.194 b. pvRI81 pp.191-192

"'11 2 :,~h

•

As the plot unfolds, with the dying Doge. When Simon Fiesco, disgui sed since the recognizes Fiesco, the enhar Prologue as Andrea, i s a l one monic shift is evident:

Ex.amp.le 14 pvRr81 pp.218- 219 Fiesco: "Non mi ravvisi tu?"

P'/{,~~I 51.,,,~t., j 1'/#rtf/ ~"· l"f,,,,c( I

the half-step relationship in 5rn "Die beide Boccanegra Simon Boccaneg~a often without Fassungen und der Beginn von recognizing the l arger function Verdis Sp~twerk," Analecta of these motives as neighbor MU6icologica I (1963), Wolfgang notes. Osthoff concludes that Verdi

27 Even when Simon tells Fiesco of revision, with a gradual ascent the tragic irony that Amelia from an inner voice to the Grimaldi is really his own climax on E, and the deletion of granddaughter, Maria, (the the quarter-rest for a com original non-perception from pletely continuous flow. Here which the plot evolved), the the changes in the bass line F-sharp is appropriately present again seem more dramatic, in the context of D major. The especially the replacement of iv vocal line is improved in the with v7 of vi (Example 15).

Ex.ample 15 a. pvEs57 p.224

changes melody, harmony, and the most interesting points of rhythm, but essentially keeps rev1s1on occur where Verdi the same bass line. However, changes the bass line, as here.

28 b. pvRr81 pp.222 - 223

N-1 t ·.s1/,, .t" '.L

;; ------$------)

With his dying words, Simon to revise, and how from the two, addresses Fiesco on F-sharp, "Tu he wove a stronger, more Fiescoi compl il mio voler!" dramatic, and more coherent (pvRie p.245), and finally synthesis. The primary goal of calls to Amelia by her true music is achieved in its name, Maria. performance, yet through These observations stem analysis we may arrive at a from a larger st~ dy of Verdi's deeper perception of Verdi's revisi onary procedure, where it unique style, his growth, and has proven equally fascinating his compositional process. This to observe both what Verdi chose may, in turn, lead to more to emend, and what he chose llO.t meaningful performances.