Early Music America Fall 2013 - (Page 48)

Claudio Monteverdi Vespro della Beata Vergine BOOKreviews Bel Canto: A Performer’s Guide. Robert Toft. Oxford Universi- Claudio Monteverdi’s Vespers of 1610 is without doubt one of the most popular sacred works of the 17 th century. The present Urtext edition is unique in its conception in that it originated from a Graduate Music History class on editing, taught by Monteverdi specialist Hendrik Schulze at the University of North Texas. The result is an edition which combines the latest in musicological research with unforeseen practical implications for performers. This has led, for instance, to a divergent evaluation of the Lauda Jerusalem oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books. As such, the edition provides a fresh image of Monteverdi’s 400-year-old work for today’s performers and scholars. ● Scholarly-critical Urtext edition orientated towards performance practice ● Detailed critical commentary (Eng) in the full score ● Movements 10, 13 and 14 included in their original high clef in the appendix of the full score BÄRENREITER URTEXT Edited by Hendrik Schulze, Assistant Professor of Music History, University of North Texas With UNT graduate researchers Clare Carrasco · Kimary Fick · Emily Hagen · Devin Iler · Sean Morrison · J. Cole Ritchie · Jonathan Sauceda · Brandon Stewart · AnnaGrace Strange · and Chia-Ying “Charles” Wu Piano reduction by Andreas Köhs BA 8794 Full score BA 8794-90 Vocal score (Lat) BA 8794-92 Movements from the appendix of the full score in their original high clef The complete performance material is available for sale: Wind set / Violin I, II, III Viola I, II, III Violoncello/Double Bass Basso continuo New Edition Premiere Performance Oct. 26, 2013 UNT Baroque Orchestra and Collegium Singers Winspear Hall, Denton, TX Live streaming at UNTMusicLive.com at 8 PM CST Bärenreiter The Musicians’ Choice 48 Fall 2013 Early Music America ty Press, 2013. 263 pages. Reviewed by Holly M. Zagaria. I recently purchased a juicer, and with terrific excitement, I have thrust numerous pieces of fruits and vegetables into my newest kitchen acquisition. I am amazed at how this machine can take bulk fruits and vegetables and distill them into the most palatable drinks imaginable, filled with vitamins easily absorbed into the body, creating a feeling of strength and lightness, all the while knowing that I have done something of great value for myself. I feel exactly the same when reading Robert Toft’s book Bel Canto: A Performer’s Guide. Accompanying the book is a companion website with links to musical examples that demonstrate examples of vocal techniques offered in the book. This is a must-read for singers, teachers of singing, vocal coaches, and conductors. It is a multi-level how-to manual of singing. Toft, who is professor of musicology and popular music studies at Western University, London, Ontario, defines bel canto as “a comprehensive label for vocal performance between c. 1600 and c. 1850,” and eloquently explains the specifics in singing this repertoire with historic accuracy. He provides information regarding practices of sostenuto, legato, and portamento; staccato and martellato; cadenzas; use of gesture; correction of false textual emphasis; appropriate use of vibrato; historic and dramatic use of voce di petto vs. messa di voce; and the practical application of ornamentation along with its appropriateness. Additionally, Toft offers written musical examples demonstrating these musical ideas, along with pedagogical exercises to develop the specific skills required. In reading, Bel Canto: A Performer’s Guide, it is immediately evident how valuable this book is as a resource for all who have a vested interest in accuracy in historic performance. It is a veritable compendium of techniques that were implicit to the singers of the bel canto style, and the benefit of this book is that not only does Toft offer solid ideas on phrasing, text nuance, and all matters musical—grace note length and approach, ornamentation, tempo considerations, breathing techniques, and general approach to the subject matter, but he also substantiates everything utilizing quotes from numerous pedagogues and singers who were at the time en vogue. The treatises quoted were written roughly between 1780 and 1830 by well-known teachers of singing, among whom are García, Sheridan, Lanza, Molineaux, Balfe, Corri, Bennett, Lablache, Newton, and Bayly. Toft also utilizes reviews of singers who were current at the time, the most memorable example being Braham. The examples are clear and easy to follow, and I am particularly taken by the specific guidelines and directives for phrasing. Toft’s use of asterisks and straightforward explanation of how texts were declaimed, with mention of documented use of audible and inaudible inhalation is This is a must-read for singers, teachers of singing, vocal coaches, and conductors. It is a multi-level how-to manual of singing. fascinating. Ornamenting Mozart arias such as “Voi, Che Sapete” may be a new concept to many teachers of voice. The idea that musical pieces were written with the expectation that singers would alter text placement, tempi, and musical line is powerfully evidenced in the many documents Toft fuses together. I am certain that many students of singing will sleep more peacefully tonight, knowing that there is flexibility inherent in the style. Anyone who would choose to perform a piece written during this time period has a terrific advantage in having this text on hand. The book is a straightforward and highly readable compendium of vocal techniques from the late 18th century and early 19th century, simply and powerfully described in a http://www.UNTMusicLive.com

Table of Contents for the Digital Edition of Early Music America Fall 2013

Early Music America Fall 2013