Re: Modern convention on this cello passage
Posted: 20 Jul 2025, 09:41
Apropos of the presence or absence of markings in 19th century scores, I find the difference in approach between the vocal markings, dynamics, tone colour et al, of Verdi and Wagner, both born in 1813, fascinating. Wagner is very sparing with such markings, while in his maturity Verdi sometimes has a plethora of markings for a voice part, including extreme dynamics. eg See these dynamics from the end of Celeste Aida.
I think this may have come about because of the different habits of the singers they were regularly working with. Wagner is on record as having asked for more beauty, something more like the Italian bel canto. Verdi, on the other hand, was often asking for more expression, more vocal acting and the willingness to sound ugly, if that's what the drama demanded. When I was young I always heard that high B flat at the end of Celeste Aida belted out ff, but in his recent recording of the complete opera conducted by Tony Pappano, Jonas Kaufmann makes a good job of doing what's indicated: wonderful!
I think most composers today will try to indicate only what is necessary to get the result they want, always depending on for which performers the piece is intended. An occasional problem can be an obsession with note accuracy at all costs, resulting in too slow a tempo when a ‘scramble’ may actually be what's most effective. There are passages for the cellos and basses in Elektra that are only strictly accurate when too slow; but that's not the point.
I think this may have come about because of the different habits of the singers they were regularly working with. Wagner is on record as having asked for more beauty, something more like the Italian bel canto. Verdi, on the other hand, was often asking for more expression, more vocal acting and the willingness to sound ugly, if that's what the drama demanded. When I was young I always heard that high B flat at the end of Celeste Aida belted out ff, but in his recent recording of the complete opera conducted by Tony Pappano, Jonas Kaufmann makes a good job of doing what's indicated: wonderful!
I think most composers today will try to indicate only what is necessary to get the result they want, always depending on for which performers the piece is intended. An occasional problem can be an obsession with note accuracy at all costs, resulting in too slow a tempo when a ‘scramble’ may actually be what's most effective. There are passages for the cellos and basses in Elektra that are only strictly accurate when too slow; but that's not the point.
