Resumo de Giuseppe Verdi And Giovanni Ricordi

In 1838, Verdi began his relationship with Giovanni Ricordi when the publisher facilitated the financial arrangements for the composer''s first contract at la Scala. Verdi continued to use Ricordi as his primary Italian publisher until Giovanni''s death shortly after La traviata, and he remained with the firm under the administrations of Giovanni''s son and grandson. During a period of contention with Ricordi, Verdi turned to his Milanese rival, Francesco Lucca, who published three of the composer''s operas and an album of his songs. During the nineteenth century, a publisher''s role in the dissemination of an Italian opera centered on two areas; performance and publication. The publisher would try to control performance rights by obtaining the autograph score, and then restrict the circulation of manuscript copies of the full score and orchestral parts. This meant that impresarios who wanted to stage a particular work were obliged to rent performance materials from the publisher. The publisher also printed an opera for the general public in piano-vocal score, for piano solo, and in many other arrangements. These were generally released one piece at a time. Documentation of Verdi''s working relationship with his Milanese publishers includes internal ledgers known as libroni of both Casa Ricordi and Casa Lucca as well as published and previously unpublished correspondence of the composer, his publishers, and many of his close friends and associates. This correspondence is liberally quoted in the text of this book which chronicles the relationships between Verdi and his Italian publishers. There are extensive appendices that detail the publication process of Verdi''s works. Among other things, this study shows that Verdi himself prepared piano-vocal reductions of isolated numbers in Oberto, Un giorno di regno, Alzira, and La battaglia di Legnano. It also indicates the inaccuracy of Verdi''s statement and the widely held belief that the composer always orchestrated his operas at the last minute after arriving in the city of the first performance. The evidence shows that most if not all of the orchestration was completed before Verdi left for the cities of the premieres of I due Foscari, Macbeth, La battaglia di Legnano, and Il trovatore.

Resumos Relacionados