LUIGI ROSSI: EARLY BAROQUE ITALIAN CANTATAS FOR THE MODERN SINGER, WITH MODERN EDITIONS OF SELECTED WORKS Sarah Abigail Griffiths, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Lynn Eustis, Major Professor and Director of Graduate Studies in the College of Music Hendrik Schulze, Minor Professor Elvia Puccinelli, Committee Member Jeffrey Snider, Chair of the Division of Vocal Studies James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Griffiths, Sarah Abigail. Luigi Rossi: Early baroque Italian cantatas for the modern singer, with modern editions of selected works. Doctor of Musical Arts (Performance), August 2011, 65 pp., musical examples, references, 65 titles. The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. In an effort to illustrate trends in modern editions and performance practice, this song is traced from its first appearance in 1602 through representations in modern anthologies. Chapter 3 considers the practical concerns of modern editors of baroque vocal music – such as performance practice applications, ornamentation, and pedagogical considerations – with respect to the cantatas of Luigi Rossi. Chapter 4 discusses the three cantatas by Luigi Rossi that are presented in Part II as performance editions. Copyright 2011 by Sarah Abigail Griffiths ii ACKNOWLEDGEMENTS I would like to thank a number of people for sharing their skills, knowledge, and expertise. Specific acknowledgement must go… To Elliot Figg, for his artful and inspiring continuo skills and partnership in this performance project, To Dr. Elvia Puccinelli, for her love of the Italian language and for helping me create the best possible translations of the songs for these editions, To Dr. Hendrik Schulze, for his expert feedback and advice, To Dr. Lyle Nordstrom, for mentoring me and for consistently challenging me to grow as a musician, To my friends and family – you have inspired me and kept me in good spirits along this journey, And finally, to Dr. Lynn Eustis, for showing endless patience while helping me to grow as a singer and for being an amazing model for me as a developing teacher. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF MUSICAL EXAMPLES ..................................................................................................v PART I: LUIGI ROSSI AND THE CREATION OF MODERN EDITIONS ................................1 1. Introduction ..............................................................................................................2 Context for the Early Baroque Cantata Luigi Rossi: Biographical Information Rossi’s Solo Cantatas Past and Present Reception of Rossi’s Cantatas 2. Arie Antiche and the Many Visages of Amarilli, mia bella ...................................12 Caccini’s Amarilli, mia bella Accessibility vs. Authenticity 3. The Creation of Modern Editions ..........................................................................28 Style Guides and Resources Vocal ornaments and style Text expression Basso continuo realization Special consideration in creating new modern editions 4. Introduction to Selected Rossi Cantatas ................................................................39 Final Thoughts References ..........................................................................................................................46 PART II: MODERN EDITIONS OF SELECTED ROSSI CANTATAS .....................................51 Addio, perfida, addio .........................................................................................................52 D’una bell’ infedele ...........................................................................................................57 Amanti, piangete ................................................................................................................61 iv LIST OF MUSICAL EXAMPLES Page 2-1 Caccini, “Amarilli, mia bella,” mm. 1-4: Le nuove musiche, 1602 ...................................15 2-2 Caccini, “Amarilli, mia bella,” mm. 1-3: A Musicall Banquet, Robert Dowland .............15 2-3 Caccini, “Amarilli, mia bella,” mm. 1-5: realization of lute transcription ........................16 2-4 Caccini, “Amarilli, mia bella,” mm. 1-4: Twenty-Four Italian Songs and Arias, ed. Alessandro Parisotti ...........................................................................................................17 2-5 Caccini, “Amarilli, mia bella,” mm. 1-4: Early Italian Arias, ed. Ida Isori ......................19 2-6 Caccini, “Amarilli, mia bella,” mm. 1-6: Early Italian Songs and Airs, ed. Pietro Floridia ............................................................................................................................................20 2-7 Caccini, “Amarilli, mia bella,” mm. 1-5: Pathways of Song, eds. Frank LaForge and Will Earhart ................................................................................................................................21 2-8 Caccini, “Amarilli, mia bella,” mm. 1-5: La Flora: Arie &c. Antiche Italiane, ed. Knud Jeppesen .............................................................................................................................22 2-9 Caccini, “Amarilli, mia bella,” mm. 1-4: Italian Songs of the 17th and 18th Centuries, ed. Luigi Dallapiccola ..............................................................................................................22 2-10 Caccini, “Amarilli, mia bella,” mm. 1-4: The Aria, Renaissance and Baroque, ed. Ruggero Vené ....................................................................................................................23 2-11 Caccini, “Amarilli, mia bella,” mm. 1-3: 26 Italian Songs and Arias, ed. John Glenn Paton ................................................................................................................................24 2-12 Caccini, “Amarilli, mia bella,” mm. 1-5: 28 Italian Songs and Arias, ed. Richard Walters ............................................................................................................................................25 3-1 Luigi Rossi, Addio, perfida, addio, mm. 4-5 .....................................................................31 3-2 Rossi, Amanti, piangete, m. 12 ..........................................................................................32 3-3 Rossi, D’una bell’ infedele, mm. 26-29 .............................................................................33 3-4 Rossi, Amanti, piangete, mm. 22-23 ..................................................................................33 v PART I LUIGI ROSSI AND THE CREATION OF MODERN EDITIONS 1 Chapter 1 Introduction Most classical voice teachers agree that the songs from the classic Schirmer edition of Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries can be very useful pedagogical tools, especially for young singers working to develop solid singing technique. However, aside from this commonly performed core of Italian vocal literature, the works of many early baroque composers are generally overlooked in performance editions and anthologies. The cantatas of Luigi Rossi (1597-1653) deserve a place in the standard Italian vocal repertory, both for their aesthetic beauty as well as their pedagogical value.1 Surprisingly, Rossi’s music is largely absent from the canon of Italian baroque vocal works that is available in modern performance editions. This author’s goal is to make the solo vocal music of Luigi Rossi accessible to a broader modern audience and to present these cantatas as excellent vehicles for vocal pedagogy. In later chapters, practical and pedagogical considerations in the creation of modern editions are discussed at length, but it is first important to place Rossi’s cantatas in historical context. Luigi Rossi’s music has largely escaped mention in the popular Italian song anthologies made available to American singers and voice teachers over the past century.2 There has been 1 The term cantata, as applied to Luigi Rossi’s compositions, refers to the early baroque term for a non-theatrical, non-liturgical vocal