Note:This scholarly essay is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of two lecture recitals related to the essay topic.

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Title:From paper to performance: Problems and solutions in operatic piano-vocal scores
Author(s):Bagby, Michael Joseph
Advisor(s):Gunn, Julie
Contributor(s):Gunn, Julie; Magee, Jeffrey; Tilley, Michael
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):piano-vocal scores
largo al factotum
una furtiva lagrima
piano reduction
editorial solutions
instrumentation
textures
layers
nineteenth-century Italian opera
Abstract:As a vocal coach and accompanist in operatic productions, I utilize piano-vocal scores regularly. The organization of piano-vocal scores within the Nineteenth-Century Italian operatic repertoire varies by publisher and editor in conveying the piano reduction as well as editorial markings. This dissertation reviews Figaro’s aria “Largo al factotum” from Rossini’s Il Barbiere di Siviglia and Nemorino’s aria “Una furtiva lagrima” from Donizetti’s L’Elisir d’Amore from a pianist’s point of view. Upon evaluating the orchestral likeness of an edition, pianists may seek an alternate rendering that better transmits the orchestral score into a reduction idiomatic to the piano. Relying on their knowledge, taste, ingenuity, and the 21st-century technology at their fingertips, editors and pianists alike may resolve complications ranging from page turns to instrumentation.
Issue Date:2017
Publisher:School of Music, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign
Genre:Essay
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/98543
Rights Information:Copyright 2017 Michael Joseph Bagby
Date Available in IDEALS:2017-11-14


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