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Subject: Interpolated notes - from La Voix et le Chant - G B Faure, 1886 transl - Roberta Prada
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Sun, 24 Sep 2017 20:42:14 -0400

text/plain (33 lines)

Giorgio Ronconi, one of the greatest artists I have ever heard, adopted a cadenza that he placed at the end of all his arias. According to whether the piece was legato, grazioso or pathetic, he put tears in it, changed the tempo, syncopated it, speeded it up or slowed it.

Here is the cadenza:


            In the month of January 1848, while he was he was director of the Théâtre-Italien, as a gift for the New Year, the musicians sent him a new cadenza, which they thought their director really needed. The artist, who was a gentleman, accepted the cadenza, thanked the musicians, and executed it the same evening, making several slight modifications. Bit by bit these took on such importance, that at the end of a few days the transformation was complete and nothing remained of the cadenza composed by the musicians of the orchestra but Ronconi’s old cadenza.

            What I said above about cadenzas necessarily applies to all pauses left to the choice of the performer; they must be executed rigorously in the style of the composer.

As the fermata is intimately tied to the reentry and to the end of the phrase, on which the success of a vocal piece almost always depends, it needs absolute mastery. You cannot practice it too often.

            Apart from some exceptions, the fermata that precedes the end of the phrase must be done in one breath, otherwise it is divorced from the piece and becomes a vocal exercise without purpose.

>  Interpolated notes

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