Part 5 (1/2)

It is a prevalent idea that all departures from the published text are due either to caprice, or to vanity and a desire for personal display on the part of the soloist. As though singers had a monopoly of these defects!

Let us consider some of the princ.i.p.al causes of such changes in the text, and the reasons why these modifications do not always appear in the published versions.

In the original editions of many of the earlier operas, as those of Mozart, etc., the unaccompanied recitative (_recitativo secco_) is not barred. As with the plain-chant of the church, only the _pitch_ of the tone is indicated. Its _length_ was left to the discretion of the artist, who was supposed to be familiar with the accepted style of delivery termed ”_recitativo parlante_.” The example is from the recitative ”Dove sono,” in Act III of _Le Nozze di Figaro_, by Mozart:

[Music: E Susanna non vien! Sono ansiosa di saper]

This should be sung as below:

[Music: E Susanna non vien! Sono ansiosa di saper]

The subst.i.tution of another note for the one actually written, both in Recitative and Aria, was also strictly regulated under the system or convention then in vogue, one perfectly understood both by composer and singer.

In all the earlier Italian operas, and in the English oratorios of Handel, this system was followed:

[Music: Recit. ”Behold, a Virgin shall conceive”

Messiah

Handel

(sung)

Emmanuel;

(printed)

and shall call his name Emmanuel;]

[Music: Aria. ”I know that my Redeemer liveth”

Messiah

Handel

(sung)

liveth

(printed)

I know that my Redeemer liveth]

[Music: Recit. ”Non piu di fiori”

La Clemenza di t.i.to

Mozart

(sung)