#24 italian songs and arias

[tfblovesmusic]

How the 24 Italian Songs and Arias and the Suzuki Violin School are Similar, Pt. 5

Now that we ironed out the inherent problems with the 24 Italian Songs and Arias and the Suzuki Violin School regarding historical practices, let's hear it from respectively vocal and violin pedagogy experts (as well as Poe).

"(Those chordal edits of late Renaissance and Baroque music) was common in 19th century editions because (Alessandro Parisotti and G. Schirmer's editors) had very little exposure to and experience with Renaissance and Baroque music, since only then-recently-composed music was in fashion," harpsichordist and musicologist Alice M. Chuaqui Baldwin explained.

"The editors were just making guesses about what the music was supposed to sound like, and those guesses were based on Romantic music."

Plus, one of the pieces in the 24 Italian Songs and Arias was composed by Parisotti. He ascribed his aria, "Se tu m'ami," to Giovanni Battista Pergolesi. A good comparison is the Henry Lane Wilson English-language air, "Shepherd! Thy demeanour vary." He ascribed it to Early Classical composer, Thomas Brown Jr. He included it in his publication, Old English Melodies, in 1899.

Will Crutchfield of opera organization Teatro Nuvo, described the practice of not only editing Baroque and classical music pieces to suit Romantic Era mores, but also compose in the style of them, as Pseudo-Baroque for School and Parlor.

"It flourished in the later 19th century, when quite a few composers felt the urge to write gavottes, minuets, and little da capo arias - more or less in 18th-century styles, but always with telltale traces of the present day intermixed," he explained, "This went hand-in-hand with adaptations of actual Baroque music."

It's any wonder why Shinichi Suzuki based the edits and piano-violin arrangements of Baroque pieces off those published in the 19th century and the turn of the 20th century when developing the Suzuki Method.

"The question of authenticity in a composition is a valid question," A. Brown remarked on MaestroNet. "The words 'edited by' indicate that you are seeing a version and not necessarily an original. Depending on the editor, many versions can be totally unfaithful to the original. Some can be very useful and good."

"For the music of many composers, there are urtext publications that profess to present a printed text of the composer's intention. This could be taken from the earliest example or a manuscript in the composer's hand. Often there may be several versions, maybe all in the composer's handwriting."

"Editions of some of the more standard repertoires such as (the JS Bach concertos and GF Handel sonatas) are very old-fashioned, likely to be old German editions from the turn of the 20th century," Toscha added, "Suzuki allegedly studied with Karl Klingler (a student of Joachim) of Berlin during the 1930s, and seems to have had an almost blind faith in old German editions."

"But the fact was, (the Romantic-era German school of violin playing) was already out-of-date in the 1930s (Russian and Franco-Belgian school were very much in vogue already). And today, I don't think any serious professional violinists will likely to use those fingerings and bowings found in the Suzuki books."

Neither would pianists very likely play the figured basses of, say, Solfege No. 128 composed by Francesco Durante fresh off the 1772 transcript of Solfèges d'Italie as opposed to from the piano part written on 24 Italian Songs and Arias whenever a vocal student would perform "Vergin, tutt'amor" at a college vocal recital or state solo and ensemble MPA any time soon. The former keyboard part would work historically best on an organ alongside a monophonic bass instrument like a cello or bassoon.

Poe explained why:

Infusion of Romantic stylistic elements might overshadow Baroque and Classical sensibilities, leading to interpretations that felt more modern and less true to the original contexts. The aggressive use of dynamic contrasts in the piano scored could overshadow subtle nuances, potentially masking the delicate interplay that defined the original works. Excessive variations in dynamics might lead to a lack of clarity in conveying the specific moods (aka "affects") the composers aimed for, disrupting the emotional flow of the pieces. Allowing for significant rubato and personal expression might result in performances that diverged too far from the composers’ original pacing, creating interpretations that felt disjointed or overly interpretative. Performers might prioritize individual expression over fostering the intended narrative of the song, leading to varied interpretations that could confuse the piece’s emotional essence. In some arrangements, the dense piano textures could obscure the vocal line, making the lyrics less discernible and diluting their emotional significance. Alterations in accompaniment could lead to mismatches between musical phrasing and lyrical content, disrupting the emotional connection between text and music. By reinterpreting pieces for contemporary performance contexts, the historical and cultural significance of the original works may be diminished, leading to a detachment from the composers’ intents.

As Howard Goodall explained in the documentary Big Bangs, this was all because by the time Parisotti published Arie Antiche in 1885 - the piano already bore 88 notes. "It gained an iron frame, tougher wire strings, and a bigger range to fill big concert halls with sound, like an orchestra of one," he remarked.

"So, whenever a student of mine reaches around Book 4," Toscha recommended, "I'd start encouraging them to get more modern or urtext editions. For the pieces that don't have alternative modern editions, I'd try to 'update' fingerings and bowings for my students."

For those who already accomplished all airs of the 24 Italian Songs and Arias and are aspiring to be classical vocalists (with more and more of them collaborating with period instrumentalists), Poe suggests:

Performers should study the historical and cultural context of the pieces, including the composer’s life, style, and the music's original performance practices. This knowledge will inform their interpretations and help maintain authenticity. Working directly from original manuscripts or historically informed editions can help performers understand the nuances intended by the composer. While honoring traditional practices, performers can incorporate subtle contemporary elements—such as slight dynamic adjustments or varied tempos—that enhance emotional expression without straying too far from the original intent. Exploring new interpretation styles can engage audiences. However, these should be rooted in a clear understanding of the piece's essence to avoid diluting its authenticity. Whenever possible, use period instruments or replicas to achieve a more authentic sound. For example, using a fortepiano (or at least a digital piano hooked up to a PC with the fortepiano patch from a VST like Pianoteq) instead of a modern piano can enhance the period feel of Classical music (e. g. "O del mio dolce ardor" from Christoph Willibald Gluck's 1770 opera Paride ed Elena). Incorporating historical performance techniques, such as ornamentation specific to the era or appropriate articulation styles, can bring a fresh yet authentic character to the music. Providing audience members with insights into the piece’s background, including its emotional and historical significance, can enhance their appreciation and connection to the music. Collaborating with musicians who specialize in historically informed performance can enrich interpretations and ensure that the performance remains authentic while exploring new expressive possibilities. Seeking input from musicologists, educators, and other performers can provide valuable perspectives and help refine interpretations.

And vocalists shouldn't forget to listen to period instrument versions of the works represented in the 24 Italian Songs and Arias (and subsequent versions) wherever and whenever possible.

The same questions that pianist and composer Mark Polesky imagined arising whenever Suzuki Method students would listen to the pieces they are working in their original forms (especially those involving historically-informed performance, or HIP, ensembles) would apply similarly to vocal students.

Similarly, they'll likely ask, "Why is the soloist singing something different from what’s in the score? Can I add embellishments too? When and how? Why is everything tuned flat? Where is the harpsichordist getting all those notes from? Why are there so few dynamics, articulations, etc. in the original score? Do I have to play it the way it’s written in my score?"

And here's another thoughtful question they are likely going to ask: "Why is the male soloist singing in an alto (read: countertenor) or soprano (read: sopranist) voice in the recording?"

*I insert rightly a TW for countertenor haters, as this is the rendition of "Delizie, contenti," an aria from the 1649 opera Giasone featured in Parisotti's Arie Antiche, as Francesco Cavalli intended. Accompaniment by Rene Jacobs's Concerto Vocale Gent? You bet. The delightful alto voice of Michael Chance making it authentic? Check and double-check.*

"(An advantage) of listening to the (original versions of pieces in the 24 Italian Songs and Arias and the Suzuki Violin School) is the exposure to baroque performance practice," Polesky remarked, "And students who see the original manuscripts and early editions can learn to read the modern interpretive editions with a more critical eye (and to listen to the originals with a more critical ear)."

With the early music realm ever-expanding, maybe someday an HIP performance involving said countertenors of the megillah of the entirety of Antonio Caldara's 1710 opera La costanza in amor vince l'inganno would someday come to fruition. Audiences will soon enough be treated to hear a rendition of "Sebben, crudele" - either sung by a female soprano or sopranist - that is true to his intent.

Some early music lovers and historically-minded musicians only can dream...

[terrainofheartfelt]

"DAUGHTER" is such a SONG and I have not gotten over how Beyonce just wove in a 17th century Italian aria?

so like the thing about "Caro mio ben," is that practically every novice vocalist learns to sing it. it's from these anthologies that a 2X Italian Songs and Arias and every voice student learns at least 2 or 3 of these because they are certified good pedagogical tools for learning vocal technique. which means every single person who studied voice (classical or musical theater or just took some voice lessons in high school) has heard this aria.

and it is a pretty little song. it's nice to sing. I learned it when i was a college freshman and learning how to use my instrument. and i am just obsessed that Beyonce Knowles Carter has absolutely taken the same kind of training (because she wouldn't still be wailing if she didn't) learned this little Italian aria from some long forgotten opera by some long forgotten composer, and decided that she liked it so much she would throw it in her country album, and in her country album's MURDER track.

like, she took two of the best women country Genre Songs: Goodbye Earl & Jolene, and merged them to create GOODBYE JOLENE, and she just peppered in this Italian. which may be a reference to "choir boys and altars" but "Caro mio ben" is entirely secular and not sacred at all, which makes it a curious choice, especially since she's used Schubert's Ave Maria in one of her songs before! ("Ave Maria" on I Am Sasha Fierce). actually the text of Caro mio ben roughly translates to

Believe me, my love, when we're apart from each other, my heart languishes. I am faithful to you but I'm always sighing, cease being cruel! it's too much pain!

so it's less about evoking holiness and more about the emotional depth behind the story this and the couple songs preceding it are telling. like!!! crimes of passion! yeehaw! italian!!! she did that!

Queen B is nuts and a classical music girlie and I love her for this. ARTISTE!!!!!

[dolcesuono]

oh no... found the 'people being weird about b.eyon.ce singing a snippet of classical music' corner of the internet... i'm begging you all to get lives.

[grntaire]

in an act of accidental demonic activity aziraphale is responsible for compiling 24 italian songs & arias

[soullistrations]

not mrs carter pulling out the 24 italian arts songs and arias

[oc-name-database]

would you be able to suggest some names you think would fit a horror story? idk if that makes sense, like just general names

here's some stuff that might help

i'm looking for detective names, mad scientist names, dark country names, possible steampunk or old norse names,object names that are related to the sea/ships and possibly some music themed names?

sorry if that's a big ask, i have like 24 oc's i'm trying to name so i didn't wanna have to put details for each adsfasf

hit would really be helpful if you could give me more details of the world! mad scientist and detective names would be a lot easier to figure out if i had a time period or culture to work with. 

i’m not sure what you mean by “dark country”, so i need more details on that. sea/ship object names is also a little too vague for me to work with. 

i can definitely do everything else you’ve asked for though!

steampunk (male then female) most steampunk names are victorian era, as well as many of them having nicknames or words for nicknames

josiah 

lucien

oliver

alistair

elliot

theodosia

lyra

vivian

minerva 

violetta

merrill

old norse names (male then female)

asmund (protector)

baldur (light)

calder (cold waters)

eirik (king)

folke (people)

ivar (bowman)

tyr (god)

alva (elf)

astrid (star)

brenna (sword)

eira (queen)

freja (lady)

iona (island)

thora (thunder)

music names (male then female)

canto (italian, song)

herod (greek, hero’s song)

ronen (hebrew, song)

shiron (hebrew, songfest)

aria (italian, melody)

cadence (latin, rhythm)

clarion (medieval, trumpet)

lyric (english)

[daydream-the-demon]

1. selfie 2. what would you name your future kids? 3. do you miss anyone? 4. what are you looking forward to? 5. is there anyone who can always make you smile? 6. is it hard for you to get over someone? 7. what was your life like last year? 8. have you ever cried because you were so annoyed? 9. who did you last see in person? 10. are you good at hiding your feelings? 11. are you listening to music right now? 12. what is something you want right now? 13. how do you feel right now? 14. when was the last time someone of the opposite sex hugged you? 15. personality description 16. have you ever wanted to tell someone something but you didn’t? 17. opinion on insecurities. 18. do you miss how things were a year ago? 19. have you ever been to New York? 20. what is your favourite song at the moment? 21. age and birthday? 22. description of crush. 23. fear(s) 24. height 25. role model 26. idol(s) 27. things i hate 28. i’ll love you if… 29. favourite film(s) 30. favourite tv show(s) 31. 3 random facts 32. are your friends mainly girls or guys? 33. something you want to learn 34. most embarrassing moment 35. favourite subject 36. 3 dreams you want to fulfill? 37. favourite actor/actress 38. favourite comedian(s) 39. favourite sport(s) 40. favourite memory 41. relationship status 42. favourite book(s) 43. favourite song ever 44. age you get mistaken for 45. how you found out about your idol 46. what my last text message says 47. turn ons 48. turn offs 49. where i want to be right now 50. favourite picture of your idol 51. starsign 52. something i’m talented at 53. 5 things that make me happy 54. something thats worrying me at the moment 55. tumblr friends 56. favourite food(s) 57. favourite animal(s) 58. description of my best friend 59. why i joined tumblr 60. do u like cheese

Under cut because this is a lot.

1. selfie

First day of school selfie. (Taken on a flip-phone-)

2. what would you name your future kids?

I don't want to have children EVER, but if I had to... Veronico, Riley, and Aria. (Male, gender-neutral, and female. I'd rather have gender-neutral names because in case they're trans I don't want them to suffer like I do. I also like Italian names so that too.)

3. do you miss anyone?

Lucifer-morningstar-the-hellster... Please tell me you're alive.

There was also this girl I met on Omegle, her name was Alyssa. I think about her a lot. I had contact with her through Twitter but my old Twitter account was deleted because of my mom. I kinda still miss her and think about her a lot.

4. what are you looking forward to?

That I'll have time to do art and animation throughout the school year. And that this school year won't be as bad as last year where I literally wanted to kill myself. I'm hoping school won't make me as stressed of depressed this year. It's starting off well (got all my supplies and all, unlike last year where everything was jumbled up).

5. is there anyone who can always make you smile?

Almost all my friends! Seeing them happy makes me happy. Though the amount of simping and dirty jokes I get is a bit overwhelming though I do sit back and just laugh about it.

6. is it hard for you to get over someone?

Sometimes, but not really. I can pretty easily just say "fuck it, what do I care?" and move on.

7. what was your life like last year?

Really depressing. Being always called by my deadname, being really stressed and depressed, I never had time for anything fun and I had way too many all-nighters. As said before I was really suicidal, and also my friends and mutuals were being depressing.

8. have you ever cried because you were so annoyed?

Well annoyance at sound because of overstimulation is a thing. I have almost broke down crying because of how loud everything was and my school and class. My parents want to get me noise-canceling headphones (like the ones that don't play music and stuff). And I already have ear plugs.

9. who did you last see in person?

My friend, he is a brother of a previous friend I had, and he's in 9th grade I think? We're chill with each other and talk about memes and The Click and Hazbin Hotel.

10. are you good at hiding your feelings?

I have no idea. I think I am because a lot of people think I'm happy-go-lucky.

11. are you listening to music right now?

Not as of writing this. I would like to but it's late and I don't want my mom knowing I'm staying up. Also it's a bit hard writing thoughtful things while listening to music (with lyrics especially).

12. what is something you want right now?

I wanted to just talk to my friends and simp over a character. I wanted to draw and animate a bit so I'll do that after finishing this Q&A.

13. how do you feel right now?

I think I'm happy. I'm a tad bit bored but I LOVE answering questions. I rarely get asked things and so I'm happy answering questions.

14. when was the last time someone of the opposite sex hugged you?

Opposite sex and opposite gender? Both I have no I idea. I think opposite gender was last year or something. Opposite sex like never. I usually hug my friends instead of them hugging me because I get really freaked out by people touching me.

15. personality description

Hm... I'm chaotic, I talk about murder and cannibalism a lot, I'm charming and have charisma (as the kids these days say "rizz"), I'm old-timey and I've been described as "your like when I drop a book and it lands half open" instead of an open book. I'm bombastic and energetic, argumentative and stubborn yet willing to change opinions and acknowledge I'm wrong. I can be loving and caring and many people see me as the therapist friend and the parent friend. I am theatrical and cartoonish in the way I talk and do things.

16. have you ever wanted to tell someone something but you didn’t?

I mean yeah, I think we've all done this at some point. I mean sometimes it's things I'm debating or for my own safety (like pronouns because my parents are transphobic).

17. opinion on insecurities.

What is there to say? They exist and they're there for a reason.

18. do you miss how things were a year ago?

No.

19. have you ever been to New York?

I flew over New York on an aeroplane when I immigrated from Russia to America for the first time. But I have never officially been there.

20. what is your favourite song at the moment?

Bad Boy Good Man, Play Me Friday Night, and The Magic Slapstick all by TAPE FIVE (guess what my favorite band is-). I like them a lot for some reason, really catchy and the lyrics are fun. I like to imagine myself or my original characters to them.

21. age and birthday?

I'm twelve, but in nine days I will be thirteen. I was born August 12.

22. description of crush.

Hm... An antique copper trawler lantern, and a half-deer radio demon.

Or Airy from Hfjone and Alastor from Hazbin Hotel.

But if we're speaking like people crushes, I'm AroAce. But squashes and such, my last one was Dread, partner in crime. Not wedded in case any of us commit a crime and we don't want the other to deal with that!

23. fear(s)

I hate spiders, just no. But I would have one as a pet if it was under control and not poisonous or venomous or dangerous. Also I don't like small dogs they just scare me. I have a lot of anxiety, and I fear death a lot. I have constant existential dread that absolutely ravishes me. I have a fear of not doing the things I want and not having enough time to do things. I fear my parents will find out I'm trans and queer in general, and that I think I may have mental illnesses.

24. height

I'm 155 centimeters, about 5'1" in imperial units.

25. role model 26. idol(s)

Both Alex Hirsch. I'm Alex, for one, I want to be a cartoonist, voice actor, and create and do amazing things. But basically I am my own person and the role model and idol I have is myself.

27. things i hate

Social situations where I don't know if I'm supposed to be there or not, places I do not know how to navigate, large crowds, a lot of sound, I have a couple drawing pet peeves like tangent lines and drawing eyelashes directly on the eyes and blushing done wrong, when my art program crashes and doesn't save anything, when I make a mistake... Etc.

28. i’ll love you if…

Hm, if you treat me as an equal and don't discriminate against me for any reason. If you don't interrupt me, ignore me, and leave me out like many do. If you remember things about me others wouldn't. If you have the same interests I have. If you don't pick on me and make fun of me and bully me. Just please understand me and I'll be your friend.

29. favourite film(s)

I like Mary Poppins (1964), The Wizard of Oz, and old-timey things are my jazz. Though anything with a good story and plot and action are also my thing.

30. favourite tv show(s)

Hazbin Hotel, Gravity Falls, Inside Job, Hfjone, The Series of Unfortunate Events, and some other things like that. I watched a couple shows in my time though a very long time ago.

31. 3 random facts

I was homeschooled for 3-4 years, I am one of the best performing students in school, I play the saxophone.

32. are your friends mainly girls or guys?

My real-life friend group is mostly gals, but my online friend group (which I consider my actual friends) are mostly trans guys and non-binary people.

33. something you want to learn

I want to learn to do art at a professional level along with animation, and I want to learn to produce music and play the sax, and I want to learn how to properly voice-act and have a male voice.

34. most embarrassing moment

There are a lot. I would rather not type or choose. Basically "I say something" *cricket noises*. Usually I feel second-hand embarrassment too instead of actually being embarrassed for myself.

35. favourite subject

In school? It's linguistics.

36. 3 dreams you want to fulfill?

I want to be famous, I want to be good at art, I want to be good at sax.

37. favourite actor/actress

I'm not much for actors and actresses, I can't name any. I just watch the movie or show and not consider the names of the people behind them. Though voice actors I'd say Alex Hirsch.

38. favourite comedian(s)

There is a guy I used to like named Jack Whitehall, he was pretty funny I think.

39. favourite sport(s)

Biking and swimming. I don't exactly do sports but I do enjoy these things. It's relaxing though it does give me a workout. I'm going swimming to the creek this morning!

40. favourite memory

There are plenty. Talking to my friends and me saying something smart or hilarious, people laughing or loving me. I want love for me and my favorite memories is when I get it. I also remember a time where I lost my plushie, and then my mom finally found it. Yeah...

41. relationship status

I'm single and not ready to mingle~ Though Dread is my partner in crime I just consider him a friend. QPR shiz. I do like to flirt with others to mess with them and whatnot.

42. favourite book(s)

There is only ONE book/book series I ever read for my own pleasure. All the Wrong Questions by Lemony Snicket, it's amazing and really my genre.

43. favourite song ever

Hm... That's a really hard question. I'd say most of TAPE FIVE. Boheme Supreme, Play Me Friday Night, Ballroom Troopers, The Magic Slapstick... There is so many. But those are the main ones.

44. age you get mistaken for

I always get mistaken for being older even if I'm on the shorter side. Like a year or two older than I am usually. Probably because of how I act a bit more mature than some but I'm still not that tall.

45. how you found out about your idol

I of course was obsessed with Gravity Falls, and Alex Hirsch is a big part of the community, so yeah! And he's everything I want to be.

46. what my last text message says

47. turn ons

Oh really~? Hm~ Okay, well, when people are overly-seductive and they're serious (help me dear god). Though being AroAce it's like "Uhm I'm flattered but oh my-"

48. turn offs

Awkwardness and lack of ability to proceed with things. Awkward, silly, and embarrassing conversations are just weh. Whenever I read fanfiction I just can't and have to skip over those parts.

49. where i want to be right now

I don't know. I want to be happy and not in school. I want to do the things I aspire to do.

50. favourite picture of your idol

51. starsign

I'm a Leo which honestly meh.

52. something i’m talented at

Art. I am amazing at art and consider myself an intermediate artist.

53. 5 things that make me happy

My friends, moths, my fandoms and the characters I simp for, my dogs, wearing a suit with a bowtie.

54. something thats worrying me at the moment

School, that today I'm staying up a bit late, and that I am anxious I won't have enough time for all the things I want to do.

55. tumblr friends

I have way too many. I'd list them from-time to time so that's that. Also it's in my introduction post!

56. favourite food(s)

I have a dish I made myself. It's rice, fried grated carrots, eggs, chopped peppers and parsley/cilantro. It is SO good. I can't live without it. It's also like the only healthy thing I eat so obviously. I also like broccoli with sour cream with garlic, it's so good.

57. favourite animal(s)

MOTHS! I am OBSESSED with moths, which makes sense considering I'm a moth therian. I love the Cecropia Moth and I can't live without it, it is MINE. I also like black snakes, because Lucifer and all that, and AXOLOTLS. My mom recently gave me an Axolotl necklace to me.

58. description of my best friend

Author-of-the-year. The sweetest, most positive person in the world. She has no bad in her and she is the best and how did I even end up with her-

59. why i joined tumblr

So funny thing, I used to be absolutely in love with Bill Cipher. Then I learned he was a Tumblr Sexyman... So naturally I joined Tumblr and started Sexyman-posting about Bill.

60. do u like cheese

I like things with cheese in them, yes, like cheese pizza, macaroni and cheese, toast with cheese, a sandwich with cheese... I'd say I like Velveeta (brand) cheese, and Aged Swiss cheese. Though cheese on its own is just bland.

Alright, I had fun doing this Q&A, I love answering questions about myself.

[loplainlointhemorning]

24 Italian songs and arias listener

[mr-divabetic]

Yesterday, my mother and I went to the Palmetto Opera's performance of Great Voices from Broadway to Opera for a belated Mother's Day celebration. The program featured some of opera's greatest arias, duets, and memorable songs from the Golden Age of Broadway. My mom loves Phantom of the Opera, and I love Turandot's Nessun Dorma and La Traviata's Sempre Libera, so it was a win-win for both of us.

https://youtu.be/IGlugsYQZgg

The concert also featured two songs from Italian composer Giacomo Puccini's masterpiece, La Boheme (O Mimi, tu piu non torni, O soave fancuilla).

Giacomo Puccini was born in 1858 and later diagnosed with diabetes in 1908. Numerous reports mention that he struggled to manage his diagnosis for much of his life. Understandably, managing diabetes was difficult before the discovery of insulin wasn't until 1921.

Before insulin was discovered in 1921, people with diabetes were put on very strict diets with minimal carbohydrate intake. Some doctors prescribed as little as 450 calories a day! Sadly, some people with diabetes died of starvation.

On this Divabetic podcast, w intersperse highlights of the history of diabetes, self-care treatments, and innovations for the past hundred years as we discuss Puccini's artistry and life.

Divabetic podcast guests include Toby Smithson, MS, RDN, LD, CDCES, FAND, Patricia Addie-Gentle RN, CDCES. Hosted by Mr. Divabetic.

Throughout this podcast, we will feature music from Puccini: Great Opera Arias courtesy of SONY Music.

https://youtu.be/tmfw17L_Deo

Giacomo Puccini's artistic triumphs include La Bohème, Tosca, and Madama Butterfly. Unfortunately, his last opera, based on the fable of Turandot, would remain unfinished due to his death from throat cancer in Brussels in 1924.

Plus, we had the added treat of hearing the Theme from The Godfather and The Impossible Dream from Man Of La Mancha.

People with diabetes and their loved ones probably considered the discovery of insulin the impossible dream.

A young surgeon named Frederick Banting and his assistant Charles Best figured out how to remove insulin from a dog’s pancreas in 1921. They continued to experiment with dogs until January 1922.  Leonard Thompson, a 14-year-old boy dying from diabetes in a Toronto hospital, was the first to receive an insulin injection. Within 24 hours, Leonard’s dangerously high blood glucose dropped to near-normal levels.

The news about insulin spread around the world like wildfire. In 1923, Banting and Macleod received the Nobel Prize in Medicine, which they shared with Best and Collip. Thank you, diabetes researchers!

My boss, Luther Vandross, who had type 2 diabetes, recorded The Impossible Dream for his Songs album. He performed it many times in concert to the thrill of audiences. Recently PBS aired his performance at Royal Albert Hall in London.

https://youtu.be/fjCIWpfVdsk

Interesting Fact: The University of South Carolina boasts a top-rated music school with an

Opera department

.  We’re discussing minimizing the drama in our diabetes lives with music from the ultimate diva, Maria Callas.

Maria Callas changed how we listen to opera—and charged the ambition of the singers who followed her.  Her ability to interpret a wide variety of different roles truly set her apart, establishing her as a phenomenon, an operatic diva. She could fully exploit the dramatic strength of her low vocal range as much as the high and bright notes of her high range.

Opera takes any dramatic story and tries to make it more exciting and more believable with the help of music. Symptoms and situations related to diabetes are often dramatic and come on very suddenly. But how do you react to them? Are you a ‘drama queen’?

Whenever we are immersed in something overwhelming, we can learn how to deal with challenges better.

Divabetic podcast guests include Dr. Wendy Satin Rapaport LCSW, PsyD, Jill Weisenberger MS, RDN, CDCES, CHWC, FAND, Lorraine Brooks, American Heart and American Diabetes Association's Know Diabetes By Heart Ambassador Rob Taub, Yoga for Diabetes Author and Director Rachel Zinman and Patricia Addie-Gentle RN, CDCES.

Throughout the podcast, we will feature music from the Grandiose Stimmen: Maria Callas album courtesy of SONY Music.

[survey--s]

514.

What color shirt are you wearing?   A pale grey jumper. It’s May but it’s bloody cold lol.

During the last 24 hours, what has been the best thing that's happened to you? Finishing work yesterday knowing I had a three day weekend ahead of me.

Which name do you like better: Laura or Lauren?   Lauren.

What is your favorite song at the moment? Whisky Glasses by Morgan Wallen.

Would you rather learn how to make a dreamcatcher or learn how to make latte art? Latte art.

Have you learned anything new today, and if so, what? Err, no, not really, but I haven’t exactly done much ha. 

What was the last thing that frustrated or upset you? Dog owners who can see your dog is stressed but won’t (or can’t) recall their dogs. Like, if your dog has no recall, PUT IT ON A LEAD.

What do you think of when you hear the word "religious"? Nothing in particular.

What are three things you like about your favorite season? The leaves changing colours, being able to wear big jumpers and boots and that “cosy” feeling you get.

Who is your favorite doctor to watch on YouTube? I can’t say that I use YouTube to watch any doctors, lol.

How many letters are in your first name? Six.

What is one color you think you look horrible in? Yellow.

When was the last time you did something for the first time, and what was it? Errr, I don’t remember.

When was the last time you felt amazed? Ha, I can’t say that I ever really feel amazed, to be quite honest.

Would you rather draw or paint? Draw.

Have you ever met anyone named Sienna? No, but I think it’s a really pretty name.

If applicable, what was the name of the first college dorm you lived in? And what was the name of your first college roommate? Spruces, and I lived alone there as I had a single room. In my second year I house-shared with several people but I forget their names now lol.

Do you like your natural hair color? I didn’t when I was younger but it’s grown on me as I’ve gotten older.

As a kid, which Bratz doll was your favorite? They were after my time.

Do you judge books by their covers? Not by the picture, but I do tend to go by the blurb on the back.

If you could choose any one author to meet, which author would you choose? Neil Gaiman.

Do you prefer blonde hair or red hair? Red.

Do you sing in the shower? 🚿 Of course.

List ten random unique names you like for a girl: I’m not sure about unique, but I like the names Caitlin, Sophia, Skye, Xanthe, Rowan, Lily, Sara, Lacey, Sienna and Aria.

What do you hate the most about your life right now? How expensive everything is lol.

....and what do you love the most about it right now? How well my business is going and how easy I’m finding it.

Name one celebrity who has the same natural hair color as you. Anne Hathaway.

Do you think you'd rather be a novelist or a journalist? Why? A novelist as I don’t like the idea of writing about other people’s lives for money, it seems a bit exploitative to me.

Do you like the smell of old books? 📚 Sometimes.

If you have one, what is your favorite Christian song? I’m not a religious person but I love Coat of Many Colours by Dolly Parton.

Would you rather eat Italian food or Chinese food? Chinese.

Do you believe in miracles? ✨ No.

What is one story you've heard that's stuck with you, and why? Nothing in particular is coming to mind right now.

When was the last time you painted something? 🎨 About three years ago during the first lockdown when I decorated the living room and the kitchen. Have you ever met anyone named Brynn? My friend’s border collie is called Brynn, lol.

What has been the most exciting day of your life so far? I couldn’t pick just one day.

How old will you turn on your next birthday? 🥳 I’ll be 35.

Have you had your birthday yet this year? Not yet.

What was the last song you listened to on repeat? I don’t really tend to do much anymore.

True or False: You're reading a really good book right now. False.

How many different cities have you lived in? Two cities and several smaller towns.

Have you ever had a friend named Claire? Not a close friend, no.

What are three words you would use to describe yourself that start with the first letter of your name? My first initial is rubbish for adjectives, lol. All there really is is “nice”.

Would you ever want to go zorbing? It’s not something I’d pay for, but if someone offered to take me I’d give it a go.

[brightereyes]

When the dj starts bumping 24 Italian art songs and arias!!!!!!!!!!!!!!!!!!

[tfblovesmusic]

How the 24 Italian Songs and Arias and the Suzuki Violin School Are Similar, Pt. 3

So, how can we - with growing awarenesses of early music performances as well as historically informed performance (HIP) practices - rectify the shortcomings the 24 Italian Songs and Arias and the Suzuki Violin School have had in common regarding heavy edits to Baroque music excerpts since their publications?

"I attended an early singing master class once and agreed 100% with the teacher when he said, 'We should microfilm (the 24 Italian Songs and Arias) for reference and burn all existing copies," one HIP-oriented vocalist quipped on Facebook.

"Early music is great. Early music sung the way someone who had no idea about it decided that it should be sung is terrible."

Such comments respectively lead student vocalists and violinists to another problem surrounding it and the Suzuki Violin School: many music educators don't teach them fully about Baroque music history as well as the development of the modern piano enough. With the lack of knowledge of classical music history, let alone full knowledge of the Baroque era, it's any wonder why some of them have animosity towards learning the publications.

Poe, an app operated by Quora, advises voice teachers who teach the 24 Italian Songs and Arias:

Provide an overview of the Baroque period (roughly 1600-1750), highlighting the dominant aesthetic principles, such as the emphasis on emotional expression, virtuosity, and the development of opera and other vocal genres. Explain how the 24 Italian Songs and Arias fit into the broader stylistic and compositional trends of the Baroque era. Trace the evolution of opera from its origins in the late 16th century through the Baroque period, focusing on the development of recitative, aria, and other key structural elements. Discuss how the 24 Italian Songs and Arias, many of which are excerpted from operas, reflect the stylistic and dramatic conventions of Baroque-era opera. Explore the distinctive vocal techniques and ornamentation styles associated with Baroque singing, such as the use of messa di voce, trills, and embellishments. Explain how these technical and stylistic elements were integral to the virtuosic displays of Baroque-era singers, who were often the driving forces behind the creation and performance of these arias. Discuss the role of aristocratic and ecclesiastical patrons in the commissioning and production of Baroque vocal music, and how this influenced the formal and expressive characteristics of the repertoire.

Contextualize the 24 Italian Songs and Arias within the social and cultural milieu of the Baroque courts and salons, where these works were primarily performed. Analyze the poetic and literary sources that served as the basis for the text of the 24 Italian Songs and Arias, such as the Petrarchan sonnets and other Baroque poetic conventions. Explore how the relationship between the text and music in these works reflects the Baroque aesthetic of combining emotional expression with intellectual sophistication. Discuss the predominance of the Italian language and the unique challenges it poses for non-Italian speakers in terms of pronunciation, diction, and cultural nuances. Situate the 24 Italian Songs and Arias within the broader context of the Italian musical tradition and its influence on Baroque vocal music across Europe.

It likewise advised Suzuki Violin School-teaching violin teachers:

Discuss the time period (roughly 1600-1750) and its significance in music history, highlighting major composers like Antonio Vivaldi, JS Bach, and Archangelo Corelli. Emphasize the stylistic characteristics of the era, such as contrast (between loud and soft, solo and ensemble), ornamentation, and expressiveness. Explain the evolution of the violin and other string instruments during the Baroque period, including changes in construction, stringing, and playing techniques. Discuss the role of the violin in ensembles and orchestras, as well as its prominence as a solo instrument. Introduce students to Baroque performance conventions, such as the use of improvisation, ornamentation, and stylistic phrasing. Explain the significance of basso continuo accompaniment and how it supports the soloist, emphasizing the collaboration between different instruments. Highlight the role of patronage in the Baroque period, including how composers worked for courts, churches, and wealthy patrons. Discuss the social functions of music, such as its use in religious ceremonies, court festivities, and public concerts. Explore the regional differences in Baroque music, such as the Italian, French, and German styles, and how these influences shaped the works students are studying. Encourage students to recognize the characteristics that define these national styles within the pieces they play. Discuss the Baroque aesthetics of conveying emotions through music (the doctrine of the affects) and how this can be interpreted in their playing. Encourage students to explore the emotional content of the pieces and to express that in their interpretations. Introduce students to the differences in notation between the Baroque period and today, including the use of figured bass and performance instructions that may differ from modern practices. Discuss how composers of the era utilized notation to convey stylistic choices and performance practices.

In tandem with learning about the Baroque period, it also helps to have respectively student vocalists and violinists learning the 24 Italian Songs and Arias and the Suzuki Violin School books know about the history of keyboard instruments. A good audiovisual resource is Episode 4 of Howard Goodall's Big Bangs, which is one of the most comprehensive documentaries that teach that history well. Episode 2 of Goodall's aforementioned documentary series from 2000 about the history of opera is another valuable audiovisual resource especially for vocalists learning the 24 Italian Songs and Arias.

Mark Polesky, a composer and pianist, recommends that Suzuki Method violin students listen to HIP recordings of the pieces they are learning ALONGSIDE the recordings provided by Suzuki Method International. He lists recommended ones - as well as International Music Score Library Project links to original and urtext manuscripts of the mostly-transcribed works in his site, Suzuki Violin Pieces in their Original Forms.

"The majority of the pieces collected in the ten volumes of the Suzuki Violin School are not originally composed for violin and piano," Polesky wrote.

"If you count the sonata and concerto movements individually, there are 91 ‘pieces’ in total; and of these, only 10 were originally written for violin with piano accompaniment — and this includes the 5 Suzuki compositions from Volume 1. (The others, by the way, are the Jean Becker Gavotte in Volume 3, the 3 Friedrich Seitz concerto movements, and the Perpetual Motion by Carl Bohm in Volume 4.)"

"By this measure then, almost 90% of the series consists of transcriptions and arrangements — and I assume that most Suzuki students have only heard a few (if any) of these pieces in their original form, and also that many students may have never seen an original score."

"This is unfortunate. A typical Book 2 student who dutifully listens to the violin and piano recordings (provided by the company), might still never experience the boisterous humor of the original 'Hunters’ Chorus' from (Carl Maria von Weber's Der Freischütz), or the inspiring virtuosity of Niccolò Paganini’s Le Streghe (the source of 'Witches’ Dance')."

Notoriously, there are EVEN FEWER recordings of the 24 Italian Songs and Arias (as well as selections from G. Schirmer's 1894 parent publication, Anthology of Italian Song of the 17th and 18th Centuries) in their original forms than there are correlating ones in the Suzuki Violin School. Only one - Alessandro Parisotti's "Se tu m'ami," which he erroneously attributed to Giovanni Battista Pergolesi - was originally written for voice and piano.

Not to mention that although some songs - Tommaso Giordani's "Caro mio ben" included - were written a few decades after Bartolomeo Cristofori invented the piano in 1720, the harpsichord, clavichord, and chamber pipe organ largely dominated the family of accompanimental keyboards.

"It should be mentioned at some point that many of the pieces in the Suzuki series are labeled too simply, with singular names such as Gavotte or Largo. Anyone who wishes to research the original sources is faced with a particular challenge. For example, how many of Jean-Philippe Rameau’s 30 or so operas must one sift through before finding the Book 6 Gavotte buried in Act III of the obscure 1745 opera Le temple de la gloire?"

Sadly, a high school vocal student and/or chorus member learning from the 24 Italian Songs and Arias would likewise be too hard-pressed with standardized testing, homework overload, and any extracurricular activities outside music to EVEN bother sifting through Giovanni Bononcini's 26 or so operas before finding "Per la gloria d'adoravi" buried in Act II of his 1722 opera Griselda, here sung by sopranist Dennis Orellana, with the Wroclaw Baroque Orchestra accompanying him.

In the increasing onset of the HIP revival in the '70s through the '90s, some recordings of Claudio Monteverdi's Lamento d'Arianna (his 5-part madrigal arrangement included) and Guilio Caccini's "Amarilli, mia bella" sung from their respective manuscripts or urtext scores ALREADY emerged. The most notable examples are soprano Dame Emma Kirkby's and lutenist Anthony Rooley's 1992 recordings.

Fortunately, a few but growing number of musicians and vocalists highly erudite in HIP and early music like Dame Kirkby have been at first in recent years slowly offsetting the lack of available recordings of the 24 Italian Songs and Arias in original forms, besides the aforementioned Lamento and "Amarilli." Among them is French contralto and conductor Nathalie Stutzmann.

Together with her HIP ensemble Orfeo 55, Stutzmann interprets the arias as close to manuscript and urtext as possible. Among the highlights of her album of Parisotti airs, Quella FIamma, is her take on "Vergin Tutt'amor," incorporating the original figured basses of Francesco Durante's D minor solfege in the 1772 manuscript of Solfèges d'Italie.

While we hope for increases of HIP renditions of the 24 Italian Songs and Arias as there had been larger ones regarding pieces of the Suzuki Violin School, I, Jane Q. Early Music Lover, recommend both students and violinists to listen to recordings of Baroque pieces that are similar to the ones they are currently learning.

As an example, one learning "Sebben, crudele" or "Alma del core" - both of them arias from the 1710 opera, La costanza in amor vince l'inganno - from the "yellow book" for their state vocal solo and ensemble music performance assessments (MPAs) may wish to listen to Antonio Caldara's other arias. One of them is "Così a fiume" from his oratorio Joaz. The above recording is by HIP ensemble Ensemble La Fontaine and countertenor Alex Potter.

The aria includes a solo bassoon and a solo alto trombone. A. SOLO. ALTO. TROMBONE. Like many composers living in early 18th century Vienna, Austria, Caldara would use the latter in some arias in his sacred vocal works because its timbre - due in part to the slide and player's embouchure creating more notes than most other brass instruments at the time - is humanoid and God-like.

Part 4 explains more about the HIP recordings that may be relevant to respectively student violinists and vocalists who are learning the Suzuki Violin School and the 24 Italian Songs and Arias as well as other things to recommend to further enhance their comprehension of music history and appreciation for HIP practice and early music.

[theloniousbach]

COUCH TOURING WITH CAFFE LENA TV

BRUCE MOLSKY/MAEVE GILCHRIST, 23 MARCH 2023

BEPPE GAMBETTA, 24 MARCH 2023

This venerable Saratoga Springs, NY, folk club has a fairly robust apparatus for streaming concerts and I have enjoyed Vieux Farka Toure and the Old Blind Dogs from them with minimal incident. BRUCE MOLSKY, starting yet another interesting project with harper MAEVE GILCHRIST, and BEPPE GAMBETTA are, like the Dogs, old Focal Point favorites. That they were on successive nights was unusual, but sure, let’s do it.

There were some temporary glitches the first night (and I had some on a different device from usually reliable Small’s Live Tuesday night), sadly, the BEPPE GAMBETTA show froze repeatedly requiring reboots and the stream seemed to skip like warped vinyl. I closed it off halfway through the second set. Both shows will be available for another week, so I may give them as shows a second chance, but I will hesitate before reupping with Caffe Lena TV.

That disappointment comes because my expectations for these artists is so high. We got to see BRUCE MOLSKY at the Hiawatha Music Festival while on vacation last summer in concerts, dances, and workshops and he still makes it to the Focal Point. He is such a solid fiddler, full of technique and taste. Like Kevin Burke among others, he makes it seem effortless and it sneaks up on you that he actually just did something amazing. He is proudly an old time fiddler and yet he plays with Balkan, Irish, Finnish, Cajun,and Swedish musicians, bringing his tradition in conversation with the others and seamlessly playing the other musics too. So now he’s working with MAEVE GILCHRIST who is from Scotland but has Irish relatives (not, I think, a typical Scotch Irish story). This was hardly Scottish tune>old time medleys, though they did begin with a deliberate Irish air that settled into an old time tune. There were songs, contemporary but with tradition (Kate Rusby, a telling of an Australian shipwreck, Nic Jones, LInda—not Richard—Thompson) and Finnish, Shetlands (Fully and Newly Rigged Ship!!) and Metis tunes to go with the old time and Celtic elements.

They are heading out for some gigs and then a festival, but this seems to have been the tour opener. There was a bit of a settling in early as the fiddle found a way around the harp, but they worked that out. The banjo worked out more immediately, interestingly enough. Gilchrist has a fine voice and sense of tunes and songs, but it’s a weird instrument. Still she gave it some drive and it is after all somewhere between a guitar and a piano. I will always be interested in what Molsky does, so I’m glad we got to see this effort.

BEPPE GAMBETTA is a guitar geek’s dream—amazing flatpicking, certainly inspired by Doc Watson, but incredibly wide ranging. We gave up after he played a Verdi aria that he played at Doc’s visitation. He also did a couple of tunes from his collaboration with David Grisman celebrating Italian mandolin music (requires a Maybelle Carter approach to translate the duets to one guitar) and songs in Italian. One told an Italian outlaw tale not unlike Randall Collins which he also did. He mentioned Watson several times and we came back from one pause in the middle of a Blue Railroad Train>Brown’s Ferry Blues>Nashville Blues. But that, the Norman Blake tune, and an outro fiddle tune refracted through his part time residence in New Jersey, Fuhgedda About Me Not were the main bits of bluegrass/old time-y music. But even those were refracted through his harmonic complexities. His guitar instrumentals, though flat picked, struck me more related to the John Fahey/Leo Kotke fingerstyle tradition. As such they are even more amazing.

The above comments are, alas, not based on a full, uninterrupted version of the concert. Over time, the irritation will dissipate and I’ll think I have a sense of Beppe Gambetta 2023. But, for now, I’m aggravated and disinclined to return to Caffe Lena even as I want to keep checking in on the wonderful world of music The Focal Point opened up to us Kleindorfs and not just defaulting to jazz.

[opera-shitpost]

Petition to refer to the 24 Italian Songs and Arias as the “Fantastic Twenty-Four″

[musicainextenso]

As a teacher of young singers, I spend more time with Alessandro Parisotti‘s editions of the 17th and 18th-century Italian songs collected into his Arie Antique that most people would find tolerable. The truth is, though, I love these songs, and nobody brings out the beauty and downright class in them like the exquisite Cecilia Bartoli. I’ve often told my students that, when they are singing this song, Giulio Caccini’s “Amarilli mia bella,” if everyone in the room doesn’t fall in love with them—at least for a moment—they’re doing it wrong. So what better selection for Valentine’s Day week than this?

More to come as the week continues! - Melinda Beasi

[howtomusicmajor]

I have a university audition early next year. How can I be fully prepared for my audition? What should I be doing now to make sure I can get in?

Obviously, choose your repertoire sooner rather than later! Every university has their own requirements, so follow those. If the requirements are vague, here are some good rules of thumb:

Classical singers: include an English song, a foreign language song (Italian is a good choice, don't be afraid of the 24 Italian Songs and Arias!), and potentially a musical theater piece. If you need more songs, branch out into extra languages!

Musical theater singers: Choose songs from multiple eras. Also, as much as you love Wicked or Into the Woods or The Last Five Years or Next to Normal or Cats or Phantom of the Opera, those shows are heavily done. It's worth looking for less well-known shows.

Instrumentalists: You probably have to choose from a list of excerpts. It's not cheating to play excerpts you've already learned if the chance comes up! It's always better to play a simpler excerpt that you can absolutely nail than to choose the hardest one and maybe fumble it.

EVERYONE: Memorize your music holy shit please. Even if it's not required. Just do it. You have so much time right now! Memorize and everything will be so much easier!!

EVERYONE AGAIN: Choose pieces in contrasting styles. Happy/sad, upbeat/slow, funny/romantic/angry, etc. Show off your musicality and range!

Start practicing your rep carefully now and you're going to be so incredibly set.

Next, practice your sightreading. Lots of auditions include a short sightreading portion. It won't make or break your audition, but it will make your life easier in ensembles if you can sightread well. There are sightreading example books you can get to practice! (Instrumentalists, this isn't an audition tip, but a life tip: start learning how to sightsing simple melodies. Otherwise aural skills will be a bitch.)

Oh, also practice repeating melodies. At least in vocalist auditions, they'll play you little atonal ditties and you need to repeat them back as well as possible.

Instrumentalists, practice your long tones and scales. You should already be doing that, but it will come up in your auditions.

Finally, you can do your absolute best in an audition and still not get in. Even if you're an incredible prodigy, I still recommend auditioning for at least a few schools. There are basically infinite sopranos out there, ditto for violins and flutes and pianists. Oboes and bassoons and bass players, you're going to have less competition but schools also have fewer slots for you. Sometimes a school just won't have room and you won't get in. Auditioning multiple places gives you a better chance.

Space those audition out, too. I only applied to three grad schools, and I only got into one. Why? Because during the audition period for two of them, I had mono! And didn't realize it! (Before the plague, sometimes people shared drinks at parties and gave an entire dorm floor the same disease.) The one audition I did when healthy got me in no problem. Hedge your bets: apply to multiple schools.

You got this!