Verdi and the Metronome Roberta Montemorra Marvin University of Alabama
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Verdi Forum Number 20 Article 2 1-1-1992 Verdi and the Metronome Roberta Montemorra Marvin University of Alabama Follow this and additional works at: http://scholarship.richmond.edu/vf Recommended Citation Marvin, Roberta Montemorra (1992) "Verdi and the Metronome," Verdi Forum: No. 20, Article 2. Available at: http://scholarship.richmond.edu/vf/vol1/iss20/2 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Verdi and the Metronome Keywords Giuseppe Verdi, performance practice, tempo This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss20/2 4 Roberta M. Marvin Verdi and the Metronome Roberta Montemorra Marvin, Boston University During the 1840s the issue of objectively musicale di Milano, wanted to demonstrate determining and maintaining tempo was very much a method for establishing precision in in the minds of Italian musicisti. One at first tempo, and he says that the composer, at the imagines that designating metronome markings along beginning of the piece, where he places with the verbal tempo indications would have been "adagio" or "allegro", should also place the a logical procedure. In Italy, however, resistance to number of minutes that the piece is to last; the use of the metronome, the method already and he said that Maestro Verdi approved of adopted in other countries, was apparently so strong this system and that in the next opera he that theorists did not consider this a viable solution writes he will adopt this system. The and, instead, sought alternative methods. Maestro actually said he wouldn't even In 1844 Geremia Vitali proposed one dream of it and that it is a fona vecchia. alternative in Ricordi's Gazzetta musicale di Milano. Note how inappropriate it is for one Mr. Vitali advocated that composers indicate the length Vitali to compromise the name of a Maestro of time a piece should last when performed: as fine and as good as Verdi!' The means that I propose would be to The autograph and the printed scores attest indicate above each of the principal sections, that in 1844, when Vitali's proposal appeared in the above each single piece comprising a score, Gazzetta musicale di Milano, Verdi was using nothing the precise duration in number of minutes, other than verbal instructions to designate tempo in calculated with a watch in hand. The first his operas.5 Of course, no genuine need existed for movement should last so many minutes, the any further means of tempo designation - as long as second so many, the third, and so on. For Verdi took part in supervising his works and as long each change of movement the precise as they were performed in Italy, where to some duration should be prescribed. 1 extent, "convention" prevailed. When his operas began to circulate more widely, however, Verdi must Vitali's recommendation (not surprisingly) met with have found it necessary to indicate tempo more skepticism and spawned a series of responses in precisely. Ricordi's journal concerning the problems inherent Verdi was not alone. The essays responding in his timing method.2 to Vitali's proposal in the Gazze11a musicale di Verdi knew of Vitali's "new" method. In Milano make it clear that Italian composers in fact, in an apparent effort to lead credibility to his general were searching for an accurate method of idea, Vitali stated that Verdi would experiment with measuring speed in musical compositions. One this system of timing in his next opera: reason behind the necessity for explicit tempo designations, as contemporary pedagogues and Even Maestro Verdi is not completely theoreticians remarked, sprang from the demise of unconvinced of the benefit that may come vocal art.6 Critics expressed the opinion that from my proposal and has nattered me by deficiencies in a singer's training often resulted in as offering to experiment with it in the first inability to determine and convey the appropriate new musical work he publishes; it is hoped sentimento of an operatic piece in performance.' that others will follow his example.3 Consequently, then, instructing a performer as to the appropriate tempo,8 i.e. movimento (speed) and In reality, however, Verdi did not approve of Vitali's carattere (character), became a matter of vital proposal and had no intention of implementing the importance. method, as Muzio notified Barezzi: Raimondo Boucheron,9 called attention to the problem of indicating tempo and its solution, Mr. Vitali, a contributor to the Gazzetta again in the Gazzetta musicale di Milano: Verdi and the Metronome 5 All the adjectives that they knew how to oscillations of a pendulum, in the way devise for greater clarification, nevertheless, astronomers do the movement of the always remained inadequate to convey a planets. And for one who has lived for so composers' intentions exactly. Not having a many years in peace and made music reliable comparison for reference, it was without the metronome, what novelties are necessary to think about finding an these that are now being imposed upon us? instrument, a reliable machine. Among the -- On the other hand, there are the various inventions, Maelzel's Metronome presumptuous musicians, who believe they seems to have prevailed until now, though it themselves know everything, and the is not commonly used. 10 composer of the music they perform knows almost nothing. Even if you were to show Even though Maelzel's metronome was, them, with a metronome in hand, that they indeed, the logical choice, Italians opposed its use." mistake the speed, they know how to Reluctance to change established habits, traditions, respond ... throwing in your face their pride, and even the cost of the machine accounted ultimatum that cannot be disregarded: "I like for the unwillingness of musicians in primo olfocento it like this. It suits me well like this. It has Italy to adopt the method. Luigi F. Casamorata's12 to be like this, etc. etc." 13 comments shed light on Italian opposition to the metronome: Despite such objections, however, finally though only gradually, Maelzel's metronome began Much is said and written among us against to meet with greater tolerance and acceptance in the metronome; but whatever else one Italy. With widespread dissemination and imminent wishes to say about it, it is, it seems to me, international commission of his works, in 1846 Verdi in terms of reliability, a perfect instrument; incorporated metronome markings into his operas it is at least of a perfection relatively for the first time. I< In a letter dated 30 March 1846, sufficient to its purpose. In this regard, Emanuele Muzio informed Antonio Barezzi about many believe that if it has not yet succeeded what was, in all probability, the composer's first in being used generally nor in coming into encounter with the metronome in his works: "In the frequent use in Italy, its cost may be the past few days we have placed tempi in the entire main reason. But is it possible, in good score [of Alfi/a] using Maelzel's Metronome."15 faith, to permit this assertion? - Of course Verdi's autograph score to Alfi/a contains no not: even if its cost may, in fact, deter an metronome markings, however. 16 Instead, after individual musician, what are twenty or relinquishing the score to his publisher Francesco thirty francs to the management of a large Lucca, Verdi wrote the metronome markings for theater, a philharmonic society, a college of Alfi/a on a separate folio.17 music, etc., etc.? Even so, I do not know Verdi's decision to use metronome markings many of these institutions in Italy where one in his operas was by no means arbitrary but was can find a metronome, and where, even if influenced by contemporary thought, in particular, a they possess one, they use it very often. The series of articles in the Gazzetta musicale di Milano main reason for opposition to the adoption during February and March 1846 written by Luigi F. of this ingenious machine, particularly Casamorata. 18 These essays, previously unnoticed by among us, involves the mixture of ugly modern scholars, declare the advantages of laziness and proud presumptuousness in the incorporating metronome markings into operatic souls of many of our musical artists. -- There scores, explain how the device works and explicitly are on the one hand the "scansa-fatica" instruct composers and performers on how to use [those who avoid hard work], who, if the one, (and even how to construct one). metronome is mentioned to them, begin Casamorata's well-reasoned and persuasive screaming: "What metronome! for me my arguments must have been a catalyst in Verdi's musical instinct [sentimento] suffices! I don't decision to notate metronomic equivalents (in Attila) want to rack my brains to figure out the as a viable solution to his ever-increasing speed of a musical composition by the requirements for precision in all aspects of the 6 Roberta M. Marvin performance of his operas. Casamorata's repeated The next completely new opera Verdi com assertions concerning how metronome markings posed after I masnadieri, II corsaro (Trieste, Teatro provide the composer with a secure means of Grande, 25 October 1848), however, contains no indicating his intentions with the utmost precision, metronome markings either in the autograph or in thereby insuring regulation of the movimento or the first printed edition. This is not surprising, speed of the tempo and injecting objectivity into the however, since, having lost interest in this opera, battle with obstinate, presumptuous performers, Verdi neither attended its premiere nor participated surely caught Verdi's attention.