Il ritorno d'Ulisse in patria by Claudio Monteverdi; Giacomo Badoaro; Hans Werner Henze;Matthias Buch; Martin FockeReview by: James P. CassaroNotes, Second Series, Vol. 44, No. 1 (Sep., 1987), pp. 166-167Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/941012 .

Accessed: 15/06/2014 04:21

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 193.105.154.127 on Sun, 15 Jun 2014 04:21:48 AMAll use subject to JSTOR Terms and Conditions

MLA Notes, September 1987 MLA Notes, September 1987

sliding together of evanescent elements. Shifrin works more like a weaver, shuttling back and forth from one end of the mu- sical fabric to the other until the work is complete. The resultant structural tension, enhanced by the elasticity of Shifrin's rhythms and the "tensile strength" of his lines, endows the music with an impressive vitality that encourages repeated listening.

Next to these positive attributes, the neg- ative "atonal" seems vague and pale. Shif- rin's music, in any case, exists in a dimen-

sliding together of evanescent elements. Shifrin works more like a weaver, shuttling back and forth from one end of the mu- sical fabric to the other until the work is complete. The resultant structural tension, enhanced by the elasticity of Shifrin's rhythms and the "tensile strength" of his lines, endows the music with an impressive vitality that encourages repeated listening.

Next to these positive attributes, the neg- ative "atonal" seems vague and pale. Shif- rin's music, in any case, exists in a dimen-

sion of extreme moderation between the extreme density of Schoenberg and the ex- treme economy of Webern. The delicate balance struck between an active, urgent proliferation of ideas and a still, contem- plative conservation of artistic means might almost be called "classical." To name it, however, would be to fall victim again to a fatal addiction.

MARK S. LAPORTA Ithaca, New York

sion of extreme moderation between the extreme density of Schoenberg and the ex- treme economy of Webern. The delicate balance struck between an active, urgent proliferation of ideas and a still, contem- plative conservation of artistic means might almost be called "classical." To name it, however, would be to fall victim again to a fatal addiction.

MARK S. LAPORTA Ithaca, New York

DRAMATIC MUSIC DRAMATIC MUSIC

Claudio Monteverdi. II ritorno d'Ul- isse in patria. Poesia di Giacomo Ba- doaro (Venezia, 1641). Libera rico- struzione di Hans Werner Henze (Roma, 1981); riduzione per canto e pianoforte [di] Matthias Buch, Martin Focke. Mainz: Schott (European American), 1985, c1982. [Vocal score, 349 p.; $59.00]

Of the three operas by Monteverdi with music extant, II ritorno d'Ulisse in patria holds the uneasiest position. Being nestled be- tween Orfeo and L'lncoronazione di Poppea, two bulwarks of early Baroque opera, has somehow added to the problems sur- rounding this work. However, there are other, more intrinsic, problems: a manu- script of the score is in the National-Bib- liothek, Vienna, while a contemporary li- bretto may be found in the Biblioteca di San Marco in Venice. These sources differ widely. The Vienna source contains three acts, while the Venetian libretto presents the work in a prologue and five acts. It is thought that the opera may have been al- tered for a Vienna production, hence the manuscript copy, but no supporting evi- dence corroborates this. The premiere of Ritorno occurred at San Cassiano, Venice, early in 1641. Badoaro supplied the li- bretto, which is based on Homer and is filled with alternating scenes involving gods and mortal characters. This aspect of the work is particularly reminiscent of the structure of Orfeo.

Ritorno employs most of the musical forms prevalent in secular vocal music of the 1640s and in Monteverdi's own Eighth Book of

Claudio Monteverdi. II ritorno d'Ul- isse in patria. Poesia di Giacomo Ba- doaro (Venezia, 1641). Libera rico- struzione di Hans Werner Henze (Roma, 1981); riduzione per canto e pianoforte [di] Matthias Buch, Martin Focke. Mainz: Schott (European American), 1985, c1982. [Vocal score, 349 p.; $59.00]

Of the three operas by Monteverdi with music extant, II ritorno d'Ulisse in patria holds the uneasiest position. Being nestled be- tween Orfeo and L'lncoronazione di Poppea, two bulwarks of early Baroque opera, has somehow added to the problems sur- rounding this work. However, there are other, more intrinsic, problems: a manu- script of the score is in the National-Bib- liothek, Vienna, while a contemporary li- bretto may be found in the Biblioteca di San Marco in Venice. These sources differ widely. The Vienna source contains three acts, while the Venetian libretto presents the work in a prologue and five acts. It is thought that the opera may have been al- tered for a Vienna production, hence the manuscript copy, but no supporting evi- dence corroborates this. The premiere of Ritorno occurred at San Cassiano, Venice, early in 1641. Badoaro supplied the li- bretto, which is based on Homer and is filled with alternating scenes involving gods and mortal characters. This aspect of the work is particularly reminiscent of the structure of Orfeo.

Ritorno employs most of the musical forms prevalent in secular vocal music of the 1640s and in Monteverdi's own Eighth Book of

Madrigals: ariette passages in the stilo con- certato, for example, and, more important, the chamber duet. Denis Arnold, in Mon- teverdi (London, 1975), states that Ritorno exhibits "effective characterization in mu- sic" by associating certain musical styles with certain characters. For example, the gods use the older arioso-recitative style with highly ornamented lines and disjunct aria rhythms. Soliloquy is less important in Ri- torno than it had been in Orfeo, and an in- creased use of ensembles shows significant dramatic development in Monteverdi's style. Unfortunately, the plot of Ritorno never seems to develop steadily. In general, the juxtaposition of scenes between the gods with scenes involving mortal characters fragments the work's forward dramatic thrust.

Early twentieth-century editions of Ri- torno were realized by Vincent d'Indy and Luigi Dallapiccola. This edition is by Hans Werner Henze, a prolific composer of op- era in his own right. Henze's version of this work was given its premiere on 11 August 1985 at the Felsenreitschule in Salzburg. Critics were torn in their reactions. Indeed, reviewing a score such as this is no easy task, for it cannot be criticized solely on its mer- its as a work of Monteverdi's or of Henze's. Opera, in general, must be seen and heard for a reviewer to assess its dramatic suc- cess-seeing it on paper is not enough.

Henze's version of Ritorno is set in a pro- logue and two acts. Using his dramatic sen- sibilities, Henze closes the first act with Ulysses's recognition of his son, Telema- chus, thereby allowing the second act to re- volve around the duel between Penelope's suitors and Ulysses. Although the second

Madrigals: ariette passages in the stilo con- certato, for example, and, more important, the chamber duet. Denis Arnold, in Mon- teverdi (London, 1975), states that Ritorno exhibits "effective characterization in mu- sic" by associating certain musical styles with certain characters. For example, the gods use the older arioso-recitative style with highly ornamented lines and disjunct aria rhythms. Soliloquy is less important in Ri- torno than it had been in Orfeo, and an in- creased use of ensembles shows significant dramatic development in Monteverdi's style. Unfortunately, the plot of Ritorno never seems to develop steadily. In general, the juxtaposition of scenes between the gods with scenes involving mortal characters fragments the work's forward dramatic thrust.

Early twentieth-century editions of Ri- torno were realized by Vincent d'Indy and Luigi Dallapiccola. This edition is by Hans Werner Henze, a prolific composer of op- era in his own right. Henze's version of this work was given its premiere on 11 August 1985 at the Felsenreitschule in Salzburg. Critics were torn in their reactions. Indeed, reviewing a score such as this is no easy task, for it cannot be criticized solely on its mer- its as a work of Monteverdi's or of Henze's. Opera, in general, must be seen and heard for a reviewer to assess its dramatic suc- cess-seeing it on paper is not enough.

Henze's version of Ritorno is set in a pro- logue and two acts. Using his dramatic sen- sibilities, Henze closes the first act with Ulysses's recognition of his son, Telema- chus, thereby allowing the second act to re- volve around the duel between Penelope's suitors and Ulysses. Although the second

166 166

This content downloaded from 193.105.154.127 on Sun, 15 Jun 2014 04:21:48 AMAll use subject to JSTOR Terms and Conditions

Music Reviews Music Reviews

act becomes rather long, the change tight- ens and strengthens the inherent drama of the work.

The orchestral realization by Henze (or- chestral indications are given in the piano reduction) is a somber one. The use of vio- las, violoncellos, and double basses, but no violins, makes the string section heavy in the lower register. There are a large num- ber of woodwinds, including bass clarinet, contrabassoon, and heckelphone. Brass in- struments mainly accompany scenes in- volving the gods. Henze has also employed non-traditional orchestral instruments, such as banjo and electric guitar; accordion seems to be his principal continuo instrument. The vocal lines are highly ornamented, mostly within Baroque style, although there are instances when the ornamentation com- pletely rearranges the pitch structure of the original vocal line. Changes in meter occur frequently, lending a flow to the work much different from what Monteverdi con- ceived. Dramatic pause between sections of contrasting meter is gone; the drama con- stantly moves forward.

Some newly composed music is interpo- lated into the score. Based on existing mu- sic and occurring mainly at the beginning and end of scenes, these interpolations al-

act becomes rather long, the change tight- ens and strengthens the inherent drama of the work.

The orchestral realization by Henze (or- chestral indications are given in the piano reduction) is a somber one. The use of vio- las, violoncellos, and double basses, but no violins, makes the string section heavy in the lower register. There are a large num- ber of woodwinds, including bass clarinet, contrabassoon, and heckelphone. Brass in- struments mainly accompany scenes in- volving the gods. Henze has also employed non-traditional orchestral instruments, such as banjo and electric guitar; accordion seems to be his principal continuo instrument. The vocal lines are highly ornamented, mostly within Baroque style, although there are instances when the ornamentation com- pletely rearranges the pitch structure of the original vocal line. Changes in meter occur frequently, lending a flow to the work much different from what Monteverdi con- ceived. Dramatic pause between sections of contrasting meter is gone; the drama con- stantly moves forward.

Some newly composed music is interpo- lated into the score. Based on existing mu- sic and occurring mainly at the beginning and end of scenes, these interpolations al-

low for easy scene changes and more dra- matic exits and entrances by the characters. Ritornelli are inserted liberally. Music for the "Ballo greco" in the second act, missing from the manuscript, is supplied by Henze himself.

Physically, this edition is appalling. Mea- suring 33.5 cm in height, the score will never stand upright on a shelf without a great waste of space. There are virtually no mar- gins on the page, hence trimming without loss of text and music is impossible. The inner gutters are minimal, so some text will be lost during binding and rebinding will be impossible.

Whatever Henze was striving to portray in this realization, his obvious affection for the work must have been a major consider- ation in his efforts. While changing the flow of the work, he has significantly tightened the drama. Purists may grumble that re- cent scholarship leaves no place for an edi- tion such as this. But Henze has been true, for the most part, to Baroque sensibilities. He has taken the Monteverdi framework and improvised an edition that does justice to the effect of the drama.

JAMES P. CASSARO Corell University

low for easy scene changes and more dra- matic exits and entrances by the characters. Ritornelli are inserted liberally. Music for the "Ballo greco" in the second act, missing from the manuscript, is supplied by Henze himself.

Physically, this edition is appalling. Mea- suring 33.5 cm in height, the score will never stand upright on a shelf without a great waste of space. There are virtually no mar- gins on the page, hence trimming without loss of text and music is impossible. The inner gutters are minimal, so some text will be lost during binding and rebinding will be impossible.

Whatever Henze was striving to portray in this realization, his obvious affection for the work must have been a major consider- ation in his efforts. While changing the flow of the work, he has significantly tightened the drama. Purists may grumble that re- cent scholarship leaves no place for an edi- tion such as this. But Henze has been true, for the most part, to Baroque sensibilities. He has taken the Monteverdi framework and improvised an edition that does justice to the effect of the drama.

JAMES P. CASSARO Corell University

VOCAL AND CHORAL MUSIC VOCAL AND CHORAL MUSIC

Ross Lee Finney. Chamber Music; high voice and piano. Text by James Joyce. New York: Henmar (Peters), 1985. [Score, 95 p.; $17.50]

Gordon Getty. The White Election: a song cycle for soprano and piano on 32 poems of Emily Dickinson. Bryn Mawr: Rork Music (Presser), 1986. [Score, 95 p.; $17.50]

Injustice, artistic deprivation, cultural loss-these expressions are not too strong to describe our lack of acquaintance, until now, with Ross Lee Finney's major song cycle. His amusing songs based on Benja- min Franklin's Poor Richard's Almanack were published years ago, but these profound and masterly James Joyce settings remained on the shelf. If Chamber Music had been pub- lished soon after it was composed in 1952, the cycle would now be established as an

Ross Lee Finney. Chamber Music; high voice and piano. Text by James Joyce. New York: Henmar (Peters), 1985. [Score, 95 p.; $17.50]

Gordon Getty. The White Election: a song cycle for soprano and piano on 32 poems of Emily Dickinson. Bryn Mawr: Rork Music (Presser), 1986. [Score, 95 p.; $17.50]

Injustice, artistic deprivation, cultural loss-these expressions are not too strong to describe our lack of acquaintance, until now, with Ross Lee Finney's major song cycle. His amusing songs based on Benja- min Franklin's Poor Richard's Almanack were published years ago, but these profound and masterly James Joyce settings remained on the shelf. If Chamber Music had been pub- lished soon after it was composed in 1952, the cycle would now be established as an

American classic, ranking with Barber's Hermit Songs and Copland's Dickinson set- tings.

James Joyce's Chamber Music, a slender volume written 1902-04, provided lyrics for wonderful songs by Szymanowski, Barber, Persichetti, and Reutter. These composers drew upon separate, unrelated poems, though recent critical opinion views the book as possessing a unity with an overall "arc of expression." Sensing this, Finney un- dertook to set the whole book of thirty-six poems, and he has met the challenge of creating songs with the requisite variety and interrelatedness to hold our attention.

Just as Joyce consciously imitated earlier models, from the madrigalists to Yeats, so Finney's music alludes to earlier styles while maintaining a more consistent level of taste than the young Joyce could manage. "These poems, like fragments in a mosaic, draw a picture of love," writes Finney; but he avoids

American classic, ranking with Barber's Hermit Songs and Copland's Dickinson set- tings.

James Joyce's Chamber Music, a slender volume written 1902-04, provided lyrics for wonderful songs by Szymanowski, Barber, Persichetti, and Reutter. These composers drew upon separate, unrelated poems, though recent critical opinion views the book as possessing a unity with an overall "arc of expression." Sensing this, Finney un- dertook to set the whole book of thirty-six poems, and he has met the challenge of creating songs with the requisite variety and interrelatedness to hold our attention.

Just as Joyce consciously imitated earlier models, from the madrigalists to Yeats, so Finney's music alludes to earlier styles while maintaining a more consistent level of taste than the young Joyce could manage. "These poems, like fragments in a mosaic, draw a picture of love," writes Finney; but he avoids

167 167

This content downloaded from 193.105.154.127 on Sun, 15 Jun 2014 04:21:48 AMAll use subject to JSTOR Terms and Conditions