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Subject: Re: Interpolated notes
From: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Sun, 24 Sep 2017 15:59:52 -0400
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I’ve probably said this here before.  If a congenial Tosca soprano and conductor should exist, I think it would be great for Cavaradossi to share the high C in act 2 with Tosca as he's being dragged off, “screaming” in pain.  I’m sure Bonisolli would have if given the chance.

Donald

> On Sep 24, 2017, at 1:27 PM, donald kane <[log in to unmask]> wrote:
> 
> "Enough said" department:  this is compact, amusing, and informative;
> thank you.
> 
> As for the AIDA interpolation, once heard, a performance that doesn't
> include it, is doomed.
> 
> dtmk.
> 
> On Sun, Sep 24, 2017 at 1:44 AM, R PRADA <[log in to unmask]> wrote:
> 
>> Turns out that in Mozart, fermatas are invitations to add decorations. For
>> a long time some imagined idea of purity made people afraid to add cadenzas
>> and little turns, but an expert such as Boris Goldovsky absolutely expected
>> cadenzas and decorations.
>> 
>> During the time of Mahler there was a trend towards excessive decoration,
>> and Mahler wrote a cannon, known as The Mahler reform, trying to make a
>> unified aesthetic. Later someone or other erased all decoration.
>> The great Henry Pleasants agreed with Goldovsky and had a recording of
>> Come Scoglio with ornaments and cadenzas arranged by Goldovsky that he
>> played every summer for a course in Salzburg for American singers.
>> At a certain point there was an effusive use in ornament in Donizetti and
>> Bellini, even Rossini.
>> Based on this Maestro Ricci wrote a books of cadenzas for every voice
>> type. He was also an expert on Puccini performance style, having worked at
>> the composer's side.
>> Estelle Liebling also wrote cadenzas.
>> Before this everyone has his own cadenzas.
>> GB Faure has an amusing anecdote about Battistini and his favorite cadenza.
>> 
>> I am about to crash, but I will locate the Faure story as it is quite
>> sweet.
>> 
>> From what I have read the audiences wanted novelty and some of those high
>> notes would have served to inject a note of excitement.
>> 
>> Of course if everyone does the same interpolation, it becomes tradition.
>> That is ho-hum, to some at least.
>> 
>> I'm not sure but I think Rossini may have been the first composer to write
>> out cadenzas. That would have been to keep singers from going totally off
>> the reservation, and distorting the form of arias by carrying on too long.
>> 
>> RP
>> 
>> 
>> Sent from my iPhone
>> 
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