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Subject: Re: Turandot
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Wed, 8 Nov 2017 14:03:07 -0800
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But he didn’t finish and I can’t believe he would have just left it like that. He would have found something to mitigate that incredibly awkward transition.

The key point isn’t whether competence or correctness was displayed in Alfano’s work, it’s the lack of invention such as what one would have expected from a great composer.

Max Paley

Sent from my iPhone

> On Nov 8, 2017, at 13:54, Michael Kaye <[log in to unmask]> wrote:
> 
> The so-called "bare fifths" are exactly what Puccini notated in his
> sketches for the final scene, which must be carefully studied to understand
> exactly what Alfano did.
> 
>> On Wed, Nov 8, 2017 at 3:00 PM, Maxwell Paley <[log in to unmask]> wrote:
>> 
>> The big problem for me with “Turandot” is the way the music falls off a
>> cliff after Liu’s death procession.
>> 
>> Those bare fifths that follow slam you in the face and are followed by
>> either repetitions of earlier material or else of new material whose
>> melodic invention doesn’t approach what we’ve heard before.
>> 
>> I’m speaking of the Alfano ending - I’ve never heard the Berio. What I’ve
>> heard of the “incomplete” Alfano hasn’t whetted my appetite to hear more.
>> 
>> But then I heard no compelling music in Alfano’s “Cyrano.”
>> 
>> Max Paley
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