Le 29 juin 2017
de 15h00 à 15h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 5
Séance précomposée - Analyzing Models and Creativity in the Long Eighteenth Century
Pré-acte / Acte
Auteur : Giorgio Sanguinetti
Methods and compositional models devised as teaching tools in the Neapolitan conservatories shaped the minds of composers well beyond the long eighteenth century. A composer such as Verdi, generally considered as the epitome of Romantic opera, build his craftsmanship on the doctrines of his teacher, Vincenzo Lavigna (1776 – 1836), who was a student of Fedele Fenaroli (1730 – 1818), who was a student of Francesco Durante (1684 – 1755). Verdi was proud of his artistic ancestry, as witnessed by many of his letters, and followed strictly the Neapolitan syllabus in his teaching to his only student, Emanuele Muzio. Neapolitan techniques and models also appear in his music throughout his career, first as basic tonal paradigms, then consciously bent to express a dramatic content. Sometimes partimento models, for dramatic purposes, appear stretched beyond their standard dimensions (as the ascending 5-6 in La Traviata, Introduzione, act I). This paper aims to show that a remarkable continuity existed beyond the borders we generally acknowledge, both in music history and theory/analysis, and in particula, between continuo and classic-romantic eras, and between absolute and dramatic music. I hope this continuity will lead to a less schematic, more articulated perspective.ggi of Nicola Sala (1713–1801) from a variety of sources (scholastic canons from printed sources, or solfeggio canons from manuscript sources), highlighting Sala’s instruction of improvised canon and his own solfeggio canons as models for this instruction. The Do-Re-Mi schema is contextualized through the identification of some of its historical roots. The wide range of examples from counterpoint notebooks and educational exercises of Sala show that the Do-Re-Mi was used systematically not only in the realization of partimenti, but also in the writing and improvisation of fugues and singing of solfeggio canons, particularly of the final stretto of the fugue (the stretto maestrale).
