REVIEWS 577 go a long way research, toward Budden is able-and ea-being worthy of its extremely ger-to pass on the high fruits and con- price. As it stands, we cancerns of recent consult scholarship to the the original sources, make general reader. up Thus weour now have own minds about the "debates," available this synoptic (but and by no forage for our own bibliographies, means inerrant) compilation of de-but we must also admit that tails, and its completionthese here attests 500 pages of documents have to the degree enriched of sophistication that our under- standing of the Verdi research issues has attained. involved in this period of extraordinary The third volume, dealing with change. And we can wait for Volume II. the last four operas in four massive chapters, is in part an explicit contin- ELAINE R. SISMAN uation of the second. Budden clearly Columbia University intends the two introductory chap- ters of Vol. II (1978), "The Collapse of a Tradition (Italian Opera 1840- Julian Budden. The Operas of Ver- 70)" and "Formation of the Mature di, Vol. III: From Don Carlos to Style," to serve as a general back- Falstaff. New York: Oxford Uni- drop for the first two operas of Vol. versity Press, 1981. x, 546 pp. III as well, Don Carlos and Aida. The final two works, Otello and Falstaff, Now COMPLETE, Julian Budden's are preceded by a separate, and high- three-volume, i,6oo-page magnum ly successful, introduction, Chapter opus seems destined, for better or 3, "A Problem of Identity (Italian worse, to become the monumental Opera i870-9o)." Here Budden doc- handbook for present-day Verdi en- uments the effects of European poli- thusiasts and scholars. The Operas of tics and economics, the 1871 reform Verdi is this generation's more com- of the conservatories and theaters, prehensive addition to the several the economic wars of the publishers, previously available English-lan- the introduction of potent foreign guage walks through the Verdian influences (Wagner and Massenet) to euvre-those, for instance, by Fran- the Italian stage, the rise of verismo cis Toye, Dyneley Hussey, Spike (detailed here without mention of the Hughes, and Charles Osborne. Bud- strong realistic literary currents of den's discussions make a stronger bid the time, particularly the work of for permanence than do those of his Emile Zola and Giovanni Verga), predecessors. In the first place, he and the impact of Verdi's contempo- has widened the range of Verdian raries in Italy, notably Ponchielli, discourse by treating historical con- Gomes, and Catalani. text as central. His special contribu- The discussion of each of the four tion has been to call attention to the operas divides into two portions of European operatic traditions within roughly equal length: a generally which Verdi's works were intro- well-informed compositional/theatri- duced and to remind us that the cal history and a set of quasi-analyti- operatic repertory of that time was cal observations about the music substantially different from that itself. As in the preceding volumes which is marketed throughout the Budden brings to his task a formida- world today. Moreover, by writing ble knowledge of the operatic and in the midst of a renaissance of Verdi concert repertory. This is, of course,

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms 578 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY his trump suit, and he generally Carlos, Aida is the stuff of classical plays it extremely well. Few readers tragedy. . . . The balance of [the lat- will fail to be impressed by such ter's] plot finds a corresponding bal- ance in the musical structure which casual observations as, "the only in- stance I have been able to find of a for the Verdi of 1870 is surprisingly symmetrical . . . (pp. 197-98). duet cabaletta of the [Aida] period with a triple statement of the main idea is 'Ed ora, Contessa' in Ca- Budden's greatest strengths lie in gnoni's Un Capriccio di Donna (1870)" the sheer breadth of his repertory (p. 243n). Occasionally, however, knowledge and his ability to synthe- Budden overplays this suit, and in size over a century of published ma- these instances the repository of terial, ranging from Abramo Basevi's knowledge threatens to degenerate Studio sulle opere di Giuseppe Verdi and into exhibitionism. When he writes the Ricordi disposizioni sceniche (avail- (p. 234) that the flute solo at the able for many of the later Verdi beginning of Aida, Act III "recalls" operas) to most of the latest research. [sic] that in Holst's Beni Mora, we Nor may one discount his splendid may suspect that his motives are sense of the theater, which pervades other than explanatory. So also his every page; the reader never forgets assertion that the beginning of Fal- that these operas trade in vivid, con- staf, Act I, Part ii (1893) foreshadows crete action. Clearly, Budden is a Reznicek's Donna Diana Overture practical man writing for practical readers. So attractive are these (1894), perhaps because, as Budden would have it, "the Leipzig-trained strengths that one regrets having to Reznicek, like our own Sullivan, rep-point out that for the scholar they are resented the Mendelssohnian aspect frequently counterbalanced, and of the German academic tradition sometimes overbalanced, by a corre- that Verdi admired in Ferdinand sponding pair of weaknesses: an eva- Hiller" (p. 457). sion of the problems posed by Yet, at his best Budden can sum- available primary-source material, marize the spirit of an opera in a few and the quality of the musical analy- sis. incisive sentences. His comparison of Don Carlos with Aida is a paragon of common sense: Budden's tendency to restrict his gaze to secondary sources (perhaps Both works are played against the with the exception of his reporting background of a closed society: both on the disposizioni sceniche) is less take as their starting-point the same problematic where the published re- tragic conflict-that of private emo- search on a given work has already tion versus public duty-but pro- been strong. Thus, the discussions pound it very differently. . . . [In Don of Don Carlos and Aida are valuable Carlos] the claims of individual feeling indeed: here Budden is able to draw threaten the disruption of society. ... on the recent work of Ursula Giin- In Aida, on the other hand, the two ther, Andrew Porter, David Rosen, opposing forces are held in equilibri- um, and the conflict arises only Marc Cl6meur, and Hans Busch. through special circumstances. At no The Otello summary, however, is point is society or government put at fundamentally traditional, based risk through the deliberate actions of largely on long-available materials the principals. . . . In contrast to Don by Alessandro Luzio, Piero Nardi,

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms REVIEWS 579 and Frank Walker authorship of the libretto,(although Budden sprin- kled with extracts points out that Boitofrom brought a Medici'sdraft and Conati's recent of Acts Carteggio I and II to Sant'Agata Verdi-Boito). in Yet Luzio's important November 1889, but does not "I1 go on libretto di Otello" in Carteggi to suppose that Boito verdiani, and Verdi Vol. II, needs correcting must also have worked and on much amplifying,of some of the Verdi-Ricordithe entire text together in winter Otello cor- respondence 1889 andhas spring I890,never when they been pub- lished, and no study of the were neighbors, Verdi in Genoa and autograph score has yet appeared. A Boito in Nervi. Yet their collabora- more closely constructed Otello his- tion seems probable, particularly tory remains a project to be fulfilled. since Verdi quoted from the text Similary, with Falstaff, for which before 8 March i890, the date on little of the new research was public- which Boito gave the completed li- ly available in the late 1970s, Budden bretto to him.2 The composer, that transmits the traditional, unrecon- is, could have begun the sketching structed history. This he does with process before 8 March. great thoroughness, to be sure, but Budden furnishes little precise in- his secondary-source approach ne- formation about the stages of compo- glects the most compelling source sition as revealed by the autograph documents, notably Boito's auto- score. Thus, he does not report that graph libretto (which is treated only three portions of the manuscript are by reference to Luzio's flawed dis- insertions, interpolated folios with cussion of it in Carteggi verdiani, Vol. passages added only during the rela- II), Verdi's autograph score (which tively late orchestration stage of G. Ricordi & C. published in facsim- composition (September 189 i-Octo- ile in 1951), and the early published ber 1892): a seventeen-measure in- scores. The result is an account with troduction to the Act I, scene 2 significant lacunae and, in a few women's quartet, "Quell'otre! quel instances, errors. tino!" (fols. 65r-66v); Quickly's en- No specific mention, for example, tire narrative in Act II, scene 2, is made of the translations of Shake- "Giunta all'Albergo," along with a speare that guided Boito's word- choice for the Falstaff libretto: those of Carlo Rusconi (1838) and Giulio X (Milan: Hoepli, 1878 and i881). Compare, Carcano (1875-82), although Bud- e.g., Boito's version of Ford's monologue, "E den does make the more esoteric sogno? o realtY," near the end of II.i, with Carcano's translation, from the relevant por- point that "the Italian translation [sic] tions of Le donne allegre (II.ii and Il.v): "Oh! consulted by Boito must have been oh! e questa una visione? un sogno? Sono io based on the now discredited quarto che dormo? Svegliati, Ford! Ser Ford, ti sve- text" (p. 487n).' With regard to the glia!" (Carcano, X, 78) and "Qual furfante, dannato epicureo e costui! 11 mio cuore scop- pia quasi della rabbia. Chi dice che codesta 'See Carlo Rusconi, Prima parte del Re gelosia e insensata? . . . L'ora e fissata, il Enrico IV, Seconda parte del Re Enrico IV, and Le mercato conchiuso . .." (Carcano, X, 49), etc. allegrefemmine di Windsor, Teatro completo di 2 Verdi letter to Boito, 6 January i890: "Il Shakspeare [sic] voltato in prosa italiana, IV mio cameriere e licenziato. Se ne e presentato and VI, 3rd ed. (Turin: Pomba, I852); and uno, certo Vittorio Falsetti (brutta parola, di- Giulio Carcano, Re Arrigo IV: parte prima, Re rebbe Frod [sic])"; in Carteggio Verdi-Boito, ed. Arrigo IV: parte seconda, and Le donne allegre di Mario Medici and Marcello Conati (Parma, Windsor, Opere di Shakspeare [sic], VII and 1978), 1, 157.

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms 580 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY few introductory and concluding the final III measures of Act III, lines (fols. 18or-86V); and an extend- scene i with eighty new measures) ed orchestral introduction to Act III touches on the basic information but (fols. 26I1r-65'). has little to offer beyond what has When Budden does invoke the already been published by Hans Gail autograph score, he draws conclu- and Guglielmo Barblan. Certain sions that a closer study might have points are therefore lacking. First, prevented. He notices, for example, following his predecessors, Budden that at the end of Falstaff's Act does III, not mention that Verdi also scene i monologue (fol. 277') reharmonized"the the four measures fol- autograph contains two bars of tran- lowing the sixteen removed mea- sition here that do not appear in suresthe in the Act II, scene 2 ensemble; printed score; presumably the thisad- reharmonization may date from vantages of suddenness occurred the to period of the revision (March- Verdi after the manuscript had beenMay 1893), although the composer sent to the publisher" (p. 504n). could have independently altered the Here the esssential facts are omitted. four measures, perhaps during the The two measures are explicitly rehearsal period before the premiere, crossed out, and their music occurs in January 1893. Second, a study of on one staff only (first violins): they the correspondence in the Ricordi are thus the remains of an earlier Archives, especially the telegram draft (or "skeleton score") version. copies, could have demonstrated that Such situations are scarcely unique: the rewritten Act II, scene 2 ensem- the Ford/Falstaff duet in Act II, ble may have been first performed scene I preserves four earlier, de- without the Act III, scene i revision leted measures (fol. 146v), and the in Genoa in early April i893. Third, conclusion of Ford's monologue inBudden does not suggest that Verdi Act II, scene i preserves one (fol. might have revised Act III, scene i 173r: more would be available were as a result of certain rather cool fol. 172 not a replacement folio). criticalIn responses to that portion of any event, as the proofs confirm, it the is opera during the earlier, La Scala clear that Verdi changed the two performances. And finally, there is measures in Falstaff's solo piece be-no mention of the fact that Verdi fore sending them to Ricordi, not does not provide the original music after. for the conclusion of Act III, scene i The most pronounced shortcom- in its entirety in his Roman revision. ing of the Falstaff chapter is its failure Budden's treatment of the late to separate out the differences among 1893-January 1894 Parisian alter- the three versions of the opera autho- ations seriously understates their im- rized by Verdi: the Milanese (pre- portance (on p. 440 he asserts that miering 9 February 1893), the "no further revisions of any sub- Roman ( 5 April 1893), and the Pari- stance follow [the Roman revi- sian (18 April 1894-not May 1894, sions]"). He specifically identifies as in Budden, p. 440). Budden's (but does not date) only one change presentation of the Roman revisions for the French score, the 18-21 Janu- (two major changes: a shortening- ary i894 addition of the "Par ici" (or sixteen to six measures--of a portion "Inoltriam") dialogue before Nan- of the laundry-basket ensemble in netta's song in Act III, scene 2. The Act II, scene 2 and a replacement of rest he labels "minute divergences"

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms REVIEWS 581

and leaves unspecified. Paris, although "withIn thefact, Paris per- there are five Parisian formance changes-three the opera for all practical of considerable interest-and Ricordi purposes [?] attains its final form" (p. carried them over into the presum- 440). Without a precise identification ably authoritative September 1897 of the variants and a close study of Italian vocal score (the third and final the early editions, however, such edition printed in Verdi's lifetime): judgments are insufficiently found- (i) The final note of Alice's "Che ed. fai?" in Act II, scene 2 (No. 4Y) was rewritten a sixth lower, from c to e Perhaps more troubling than these (2) In the Act II, scene 2 ensemble matters of historical detail is the un- the last two notes of Bardolfo's "Non even quality of the musical analysis. si trova" (I3 mm. after No. 59) were It is without question gratifying that rewritten as b-b, changed from the Budden's discussions strive to attain original g-g. (3) The "Inoltriam" dia- a higher level than those of the earli- logue was added in Act III, scene 2 er Verdian handbooks, and amid the (beginning 5 mm. after No. 34). close-packed observations the reader This change is linked to the revision will find numerous individual flashes of the stage directions after Nannet- of insight. Yet, the analyses are often ta's song: the entrance of all the unsatisfying, largely because of their characters ca. 20 mm. after No. 38. frequent mistaking of chord for key (4) In the "Litany" in Act III, scene 2 and their singling out of relatively ("Domine fallo casto!", etc., for i6 minor harmonic details at the ex- mm. after No. 43) the interjections pense of more important consider- of Cajus, Bardolfo, Ford, Pistola, ations. and the Fairies ("Pancia ritronfia!", Budden's discussion of the nine- etc.) were consistently removed. (5) measure, E-major "Bacio" section A new, shortened text ("Gi' s'avanza from the love duet in Otello, Act I il corteggio nuziale. E dessa," etc.) (Rehearsal letter YY) is a case in replaced Ford's original comments point. Here he accurately perceives above the wedding minuet in Act the passage as "little more than an III, scene 2 ("Gia s'avanza la coppia expanded cadence," but goes on to degli sposi," etc., beginning 8 mm. refer to its "elliptical progressions" after No. 50). that "at one point ... [seem] to pull That Verdi never entered these back from the brink of B major" (p. changes into the autograph score- 355). This is puzzling. In the first and that all twentieth-century Ri- place, even if his analysis were unim- cordi vocal scores retain only the peachable, such a passage would first three of the Parisian revisions- scarcely be as brinksmanlike as Bud- raises disturbing editorial questions den's language suggests; a tonic- that Budden, far from pursuing, fails dominant relationship, after all, is to mention. Indeed, the whole ques- far from extraordinary. More impor- tion of a definitive edition of the tant, one wonders where this sugges- opera rests squarely on the issue of tion of B major occurs. Budden may the validity of the five Parisian revi- mean either that the V6/V in mea- sions for Italian stages. Budden can sure 2 nearly tonicizes B major (I only assure us that "it is difficult to hope not), or, more likely, that the be certain" about the binding charac- chord in measure 5, a neighboring ter of the "minute divergences" for embellishment (sounding enharmon-

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms 582 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

ically like a half-diminished C34) of stands, one would hate to be obliged the E6 that it precedes, longs to be to defend the proposition that pre- heard as an altered supertonic sev- paring a tonic by its dominant sacri- enth in B; but this, too, is problemat- fices tonal consistency. ic. It is evident, of course, that On a somewhat larger scale, con- theoretically one could move to B sider his discussion of lago's "Credo" major by proceeding from the chord in Otello, Act II: in measure 5, but the point is ren- dered irrelevant by the potent sweep Iago's creed has four articles of be- of the existing E-major bass line, the lief. . . . The piece is so designed as to larger, dominating musical context.3 fall into two sections: the first, short Occasionally, Budden's reluctance and expository, is framed by two mas- to acknowledge these broader tonal sive statements of Ex. I93a [the de- contexts steers his arguments into clamatory line doubled in octaves, odd directions. After noticing, for first heard 7 mm. after letter C]. ... instance, that the introduction to the All this conveys the first article of faith. The second section ("Credo che F-sharp minor "Willow Song" in il giusto e un istrion beffardo") is based Otello, Act IV begins with the princi- mostly on Ex. i93b [first heard aspra- pal melody played in C-sharp minor mente after letter D], beginning in C by the English horn, he proffers the minor and modulating freely so as to following: culminate in a B major climax at the words "dal germe della culla" that But why in C sharp minor when the dissolves straightaway into an orches- song itself is rooted in F sharp minor? tral guffaw of semiquavers (p. 358)- Because the cor anglais could not play it effectively in Desdemona's key. Tonal consistency is therefore sacri- ficed to considerations of emotional Falstaff's monologue, "Ehi! Taverniere!", Fal- staf, III.i. Verdi's first draft within the or- colour, though without any detriment chestral score (still present in the voice part to the music as a whole. One can only and in portions of the principal instrumental repeat that conventional rules about treble) ended in E-flat major ("e il trillo invade key weighed little with Verdi (p. 389). il mondo," fol. 277r). While filling in the orchestration at a later date, however, he The evidence is insufficient to as- transposed much of the monologue's ending up a semitone, thus closing in E major. The sert this. Were Budden able to dem- moment of the transposition may be demon- onstrate that Verdi had altered strated to have occurred precisely as Verdi preexisting (preferably F-sharp scored mi- the words "un negro grillo che vibra entro l'uom brillo" (fol. 2765, a passage for nor) music to accommodate the Eng- which the composer was requesting low trills lish horn (which, to judge from from the three flutes. Had he written the trills in autograph score, is not the case), the heflat key, the third flute would have been might well insist on his point.4 As forced it to execute the impractical trill, c-d4, above the word "brillo." A co-d trill, on the other hand, is an easy matter. Thus the 3The passage has received a more telling passage was probably transposed upward in analysis by David Lawton, "On the 'Bacio' order to obtain a more convenient trill on the Theme in Otello," i9th Century Music, I (i977-third flute. At least in this passage Verdi 78), 211-2o. (Budden, it might be noted, seemsfails to have given priority to instrumental to include the Lawton article in his bibliogra- color, not key. (But notice that this alteration phy, although several items with later maydates be linked to the addition of an orchestral are included.) prelude to Act III-now beginning in E ma- * Interestingly enough, such a tonal point jor-at a fairly late stage of composition: see p. may be made with autograph evidence in 579 above.)

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms REVIEWS 583

Such a description Thus, the is structure more of thelikely piece to confuse than suggeststo clarify. more clearly fiveFirst, sections, even if one agrees that not two,there in a rough are arch form,two as sosec- tions, surely the often secondin late Verdi: Credobegins I (F mi- at letter E, "Credo nor)--Credos con fermo2, 3, and 4 as center-cuor," which indeed tonicizes pieces (increasing C tension minor, via V, VI, un- like "Credo che and il the giusto," unstable B6)--Codetta ten andmea- sures later. Presumably parola scenica, recalling Credo we I and are dealing here with regaining a the lapsus original tonic. calami. It is also Second, one might possible to hear quarrel Credos 2, 3, and with 4, Budden's structural division, in along with the final "e vecchia fola," which the first "Credo" constitutes a as elaborating a linear thrust from self-contained section and the re- dominant to tonic: c', dl, d?1, el, f'. maining three-and everything Finally, one might notice that the thereafter-are relegated to an amor- "modulations" are by no means phous "second section." This over- free-rather, most articulate impor- looks the critical point that Verdi hastant scale degrees of the F-minor shaped the music to reflect the tex- tonic-nor do they appear to be ma- tual anaphora; indeed, each "Credo" nipulated primarily to produce B is more intense than its predecessor, major as a climactic key. and all four build structurally to the Budden's reluctance to subordi- decisive final lines. In brief, the first nate certain harmonic events to oth- "Credo," set squarely in F minor, ers may well account for his position begins and ends with the voice on that c' tonal plans are virtually nonexis- and receives free, quasi-recitative tent in Verdi's music. The position, treatment. The second, third, and axiomatic for much of his analysis in fourth are set more melodically andthis volume, was stated in its purest in parallel fashion (musical anapho- form in the first volume of his study ra), except that the voice begins each ("in accounting for the unity of a a semitone higher, the second on Verdi c' opera we cannot speak of tonal the third on d1', the fourth on dt'. schemes since these operate when at Tonally, the second ("Credo con all only within the compass of a fermo cuor") is in C minor through- separate number," I, 40) and pur- out, the minor dominant of the pre- sued in the second ("The truth is that vailing F minor; the third ("Credo such coincidences of tonality as oc- che il giusto") suggests a momentary cur within the same piece too often tonicization of (not a modulation occurto) at illogical moments or more VI, Db; the fourth ("E credo l'uom") often do not occur at all. . . . It is begins and ends on ominous dimin- much easier to show that Verdi ished sevenths, but does burst onto tends a to use keys as areas of con- perverse B 6(with an aftermath "in" trast," II, 53).5 B minor) at "dal germe della culla." A final section ("Vien dopo tanta 5 Budden's position seems especially pro- irrision") brings back some of the vocative in view of the recent lively discus- motives and textures associated with sions about Verdian tonality in i9th Century the first "Credo" and restores the Music. Besides Lawton's work mentioned in original F tonic at the end, after n. "e 3, above, see Siegmund Levarie, "Key Relations in Verdi's Un ballo in maschera, " II vecchia fola il ciel" makes a strong (1978-79), 143-47; Joseph Kerman, "View- feint towards VI, Db. point," ibid., 186-91; Guy A. Marco and

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms 584 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

If tonality is to be essentially arbi- waltz-like ideas . . . centered trary, except as a mere contrasting round small intervals" (II, 53)- device within the narrowest con- 4. Les Vipres siciliennes: a "smooth texts, as when C momentarily be- melodic swell combined with an comes "the key of the prosecution" abundance of death-figures" (II, and E "the key of the defence" in the 53)- opening of Falstaff, Act I (p. 449), 5. Simon Boccanegra: frequent pen- then it must be replaced with some- tatonic contours (II, 41, 291, thing else as a bonding agent, lest the 293). operas be thought capricious and 6. il- Stffelio and Aroldo: overlapping logical. Budden describes this substi- linear fourths, such as bb' 1-eb2-d2 tute element most explicitly in the g2, perhaps with religious con- second volume: notations (I, 457 and II, 347n). 7. La forza del destino: the rising In accounting for the unity of a sixth as a basis for melodies, Verdi opera it is difficult to go beyond particularly from tonic to sub- Basevi's "tinta," as described in Vol. I mediant and dominant to medi- of the present study [where, inciden- tally, it is mentioned as " 'colorito' ant; and overlapping and cir- ... certain details of melodic, har- cling fourths for certain themes monic or rhythmic procedure" (I, 40)], of Alvaro and Leonora (II, 520- except to point out that in the later 21). works this can embrace more than one 8. Don Carlos: a four-note pattern element (II, 53). that revolves around a minor sixth-usually an ascending That which he denies to tonality he third and fourth followed by a therefore grants to various tinta-pro- descending second (as eI'-gb- ducing procedures. Clearly, demon- c2_-bi 1)-and (as additional fac- strating the tinta assumes considerable tors) "lamenting" acciaccature importance. To cite a few examples and half-note chords (III, 41, 55, (and his discussions rarely go beyond 109-10, 112). what is summarized here, because "it 9. Aida: a twisting melodic contour is dangerous to analyse too closely the of the basic shapefi22-g2-b2-d3-a3- Verdian tinta" [II, 520]): fi2 (as in mm. 8-9 of the Pre- lude), "Ethiopian" themes in i. Macbeth: the prevalence of ideas minor, beginning with a melodic within a minor third (I, 40). descent from dominant to tonic, 2. II trovatore: a "wide arpeggio and a simple, rising scalar ges- reach" in many themes (II, 53- ture (as in "Ritorna vincitor") 54). (III, 199, 203, 208, 211, 213, 3. La traviata: a "wealth of delicate 216, 218, 229, 231, and 251). io. Otello: (curiously) the question of tinta does not arise, although Siegmund Levarie, "On Key Relations in some individual scenes develop Opera," III (1979-80), 83-89 [in which Le- around differing motives, some varie introduced the terms "ontic" and "gigne- primarily melodic (III, 335, tic" into the Verdian tonal argument]; and 388-89), some primarily rhyth- Gary Tomlinson, "Verdi after Budden," V (1981-82), 170-82. Budden includes only the mic (III, 342, 356-57). first Levarie article in his third-volume i i. Falstaff: likewise, no specific dis- bibliography. cussion of tinta as such, but

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms REVIEWS 585

much commentary, (I, 457), a "Grundgestalt" as in (II, Otello, 53), an on the development "Urgestalt" (III, 41)of , or differing an instance motives; this of "schemes leaves of pitch" (III,open 385)-one the possibility mightof expect"jewelled a more substantial work- manship" (III, demonstration 381) ofas the supplyingprinciples in- the necessary volved. tinta.

One might question Thus, the specialistwhether will find these devices, most much often to challenge pitch in these volumes, cells that are hardly omnipresent, and the serious reader will besuffice tempt- to join together edan to pepper entire the margins composition. with addi- It is not clear, tions, for corrections, instance, question marks, that the cells thus isolated are not common and exclamation points. Neverthe- enough to recur in any large work. less, the book is far too useful to But Budden is not interested in pre- ignore, and, despite its imperfec- senting a sustained theory or demon- tions, it is still an indispensable trea- stration of motivic development; sure-house of singular, if somewhat rather, he wishes to flag our atten- discontinuous, ideas for which mod- tion to an abstract pattern five or six em scholarship can be grateful. Cer- times during the course of an opera tainly it sets a new standard for and assert, as in his Forza discussion, closeness of investigation that all that "this consistency is sufficient to subsequent studies will be forced to carry the widest variety elsewhere meet or surpass. The Operas of Verdi and so preserve a basic unity . ."will doubtless remain a conveni- (II, 521). Yet if he desires to postu- ent point of departure for more ad- late that the structural integrity of an vanced work for many years to opera hangs on its generation and come. development of, e.g., an abstract intervallic set-which he terms JAMES A. HEPOKOSKI variously throughout his volumes Oberlin College, a "Schenkerian 'Grundgestalt' " Conservatory of Music

This content downloaded from 128.36.7.70 on Sat, 23 Feb 2019 20:39:18 UTC All use subject to https://about.jstor.org/terms