Claudio Monteverdi und das musikalische Drama by Anna Amalie AbertReview by: Alexander L. RingerNotes, Second Series, Vol. 13, No. 2 (Mar., 1956), pp. 297-299Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/892449 .

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every bit as much as cycles and decibels ?

Is it unfair to suggest that the present somewhat chaotic state of "the art of audio" is a temporary and transitional stage produced by what we may call corporation lag? Some major American corporations are mastodonic and sluggish in changing their habits. They quite failed to adapt to the possibility of and the demand for vastly improved reproduc- tion of music and other significant sounds after World War II, and a variety of lesser concerns sprang up to fill the vacuum. Before long, it is reasonable to expect, the American or Quasi-Monopo- listic Way will assert itself, and the American family will purchase a pack-

every bit as much as cycles and decibels ?

Is it unfair to suggest that the present somewhat chaotic state of "the art of audio" is a temporary and transitional stage produced by what we may call corporation lag? Some major American corporations are mastodonic and sluggish in changing their habits. They quite failed to adapt to the possibility of and the demand for vastly improved reproduc- tion of music and other significant sounds after World War II, and a variety of lesser concerns sprang up to fill the vacuum. Before long, it is reasonable to expect, the American or Quasi-Monopo- listic Way will assert itself, and the American family will purchase a pack-

aged sound system just as today it buys a four-door sedan-and the system will be as dependable a product as is the sedan. This may be predicted, not because RCA-Victor consists of men dedicated to reproducing the polyphony of Johann Sebastian Bach in all its radiant clarity, but because they are dedicated to latching onto the last consumer's dollar that has been eluding them, and will give the consumer what he wants as soon as he knows what it is. High fidelity is a fine hobby and a splendid servant of musical culture; but its enthusiasts should stop short of turning it into a set of ethical precepts for music-lovers, or a denial of the division of labor.

DONALD H. MUGRIDGE

aged sound system just as today it buys a four-door sedan-and the system will be as dependable a product as is the sedan. This may be predicted, not because RCA-Victor consists of men dedicated to reproducing the polyphony of Johann Sebastian Bach in all its radiant clarity, but because they are dedicated to latching onto the last consumer's dollar that has been eluding them, and will give the consumer what he wants as soon as he knows what it is. High fidelity is a fine hobby and a splendid servant of musical culture; but its enthusiasts should stop short of turning it into a set of ethical precepts for music-lovers, or a denial of the division of labor.

DONALD H. MUGRIDGE

Claudio Monteverdi und das musikalische Drama. Von Anna Amalie Abert. Lippstadt: Kistner & Siegel & Co., 1954. [3 leaves, 354 p., Claudio Monteverdi und das musikalische Drama. Von Anna Amalie Abert. Lippstadt: Kistner & Siegel & Co., 1954. [3 leaves, 354 p., music, bibl., 4to; paper, DM 35.-]

At least half a century has now passed since German musicology provided the first firm foundations of the early history of Italian opera. While supplemented by later contributions of Wellesz, Sandberger, Haas, and Prunieres, and the progress of Monteverdi scholarship aided by Mali- piero's complete edition, the original data gathered by Eitner, Kretzschmar, Gold- schmidt, Ambros-Leichtentritt, and Heuss have remained largely unchallenged. But the once epoch-making methods of dili- gent bibliographical research and descrip- tive esthetics have more recently been supplanted by the phenomenological ap- proach and objective formal analysis. Some thirty years ago at the threshold of the new trend, Hermann Abert wrote his Fundamental Problems of the History of Opera which summed up both the debit and credit sides of past operatic scholarship. Warning of time-conditioned value judgments, the great Mozartean then proposed that the basic problems of opera be re-examined "at least once in every age." Now his daughter, who previously demonstrated her knowledge and understanding of seventeenth century music in a Schiitz dissertation and many an article in MGG, has come forth with precisely such a re-examination of opera's first half century.

music, bibl., 4to; paper, DM 35.-] At least half a century has now passed

since German musicology provided the first firm foundations of the early history of Italian opera. While supplemented by later contributions of Wellesz, Sandberger, Haas, and Prunieres, and the progress of Monteverdi scholarship aided by Mali- piero's complete edition, the original data gathered by Eitner, Kretzschmar, Gold- schmidt, Ambros-Leichtentritt, and Heuss have remained largely unchallenged. But the once epoch-making methods of dili- gent bibliographical research and descrip- tive esthetics have more recently been supplanted by the phenomenological ap- proach and objective formal analysis. Some thirty years ago at the threshold of the new trend, Hermann Abert wrote his Fundamental Problems of the History of Opera which summed up both the debit and credit sides of past operatic scholarship. Warning of time-conditioned value judgments, the great Mozartean then proposed that the basic problems of opera be re-examined "at least once in every age." Now his daughter, who previously demonstrated her knowledge and understanding of seventeenth century music in a Schiitz dissertation and many an article in MGG, has come forth with precisely such a re-examination of opera's first half century.

It may be said at the outset that her monograph is as timely as it is useful, although it is by no means recommended to beginners in the field. At the least, Professor Abert presupposes a thorough historical grasp of the decisive initial period in operatic history, for she deals only with its significant artistic products. Characteristically, neither an introduction nor a conclusion puts into relief the important results of her study, and neither detailed and numerous chapter headings nor an index of the many works discussed facilitate the use of her book for quick reference. "All or nothing" seems to have been the author's motto, perhaps in keeping with a principle of long standing in German musicology. But if this tends to restrict her investiga- tion's immediate usefulness to non- German readers, it does point to a wel- come distinction from such recent ven- tures as Worsthorne's far less thorough Venetian Opera which also appeared in 1954 (see NOTES for Sept. 1954, pp. 548- 549). The present volume, incidentally, is in substance at least a decade older, war and post-war conditions having pre- vented its earlier publication.

The book is divided into three parts, only the first of which treats directly of Monteverdi as a dramatic composer. Part

It may be said at the outset that her monograph is as timely as it is useful, although it is by no means recommended to beginners in the field. At the least, Professor Abert presupposes a thorough historical grasp of the decisive initial period in operatic history, for she deals only with its significant artistic products. Characteristically, neither an introduction nor a conclusion puts into relief the important results of her study, and neither detailed and numerous chapter headings nor an index of the many works discussed facilitate the use of her book for quick reference. "All or nothing" seems to have been the author's motto, perhaps in keeping with a principle of long standing in German musicology. But if this tends to restrict her investiga- tion's immediate usefulness to non- German readers, it does point to a wel- come distinction from such recent ven- tures as Worsthorne's far less thorough Venetian Opera which also appeared in 1954 (see NOTES for Sept. 1954, pp. 548- 549). The present volume, incidentally, is in substance at least a decade older, war and post-war conditions having pre- vented its earlier publication.

The book is divided into three parts, only the first of which treats directly of Monteverdi as a dramatic composer. Part

297 297

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two is devoted to a long-overdue and con- cise discussion of the early history of the libretto. The final part, occupying about one-half of the volume, analyzes the principal musical dramas from Agaz- zari's Eumelio to Cavalli's last Faustini group. Monteverdi is thus separated from his contemporaries in a manner that does not exactly seem in line with the title Monteverdi and the Musical Drama. De- spite the assertion that his operatic achievement is distinguished by its unique spirit rather than the novelty of its forms and techniques, the over-all arrangement of the presentation once again establishes the "oracolo della musica" a priori as the musical measuring rod of his time. However, a goodly number of compara- tive remarks in the last part permit the reader to readjust Monteverdi's relative position in the history of opera at least by implication. Moreover, the text is almost entirely devoid of value judgments either way. Instead, musical evidence is produced to show, for example, that in contrast with his pupil Cavalli, who favored dramatic situations, Monteverdi directed his energies from the outset upon the depiction of dramatic characters, or that he held on to the "expression recitative" long after the "action recita- tive" had begun to make its way into Venetian opera. And, to be sure, the succinct demonstration of their unpre- cedented musical characterizations reveals the perpetual values of the Ritorno and particularly the Incoronazione far more emphatically than any of the habitual epithets of enthusiasm and lyrical out- pourings of praise.

Undoubtedly some will consider Pro- fessor Abert's approach and her style rather dry. They will find it hard to follow patiently her systematic examina- tion of the structure and quality of re- citatives, closed forms, ensembles, choral sections, and instrumental pieces, as she moves unperturbed from work to work, from composer to composer. In an age accustomed merely to the consumption of the final results of scientific research, many a student will share the scholar's daily agonies only with great reluctance. And yet, how else can one truly grasp a composer's dramatic genius if not

through an extensive comparison of the original libretto with the final score con- taining judicious cuts, subtle additions, and emphatic repeats of key phrases? How else can one understand what pro- vides formal unity in a block of scenes if not through a detailed formal and stylistic analysis of its components? We owe Professor Abert a good deal of grati- tude for doing it the hard way; her treatise may not be elegant in the literary sense, but on the strength of the informa- tion it contains it must be ranked as a major achievement. To do it full justice in this brief review is impossible.

The mention of a few additional char. acteristic traits will have to suffice. In general it can be said that the study is distinguished by its comprehensiveness rather than by startling or revolutionary insights. With Redlich the author believes, for example, that on occasion Monte- verdi's Incoronazione goes farther than any contemporary Venetian work in the separation of recitative and aria. Again, she agrees with Prunieres that there was really no Venetian school of opera apart from the highly varied output of Cavalli. In fact, Professor Abert is over-meticulous in mentioning the sources of her state- ments-witness the forty pages of notes gathered at the end of the book. Yet, the transition from the favola pastorale to the drama of intrigue is traced in a most original manner, and the comparison of librettos and their prose versions suggests new ways of investigation to students of both music and Italian literature. The author rightly emphasizes the solitary nature of Monteverdi's operatic achieve- ment, in contrast with previous writers who went out of their way to demonstrate his "influence." Indeed scholars at large may do well to realize that the historical stature of their heroes is by no means reduced by the recognition that men of genius do not always become part of the mainstream of music. Otherwise certain aspects of Cavalli's youthful operas could conceivably lead an unsuspecting individ- ual into believing that Monteverdi, too, was a "posthumous" composer when he wrote his two final dramas.

Although the last half of the book follows the broad outlines designed by

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Goldschmidt and Kretzschmar, it goes far beyond these older authors in analytic intensity and broadness of judgment. The crucial distinctions between the Roman festival opera and the Venetian box office drama emerge clearly from the dis- cussion of such representative works as Luigi Rossi's Palazzo incantato and L'Orfeo-in which the terms "aria" and "arietta" first occur together with the earliest examples of polytextual ensembles -and Cavalli's Didone and Giasone, pre- decessors of the Venetian "type-opera," which contain also some fascinating pre- buffa elements. As the analysis progresses we witness the gradual abolishment of choral scenes, the increased prevalence of high voices to please a public en- amoured of castratos, and the sacrifice of unified action to a varied spectacle. On the other hand, we follow the early evolution of social characterization in operatic music, of the "accompagnato" recitative, and most other ingredients of the later opera seria. When, finally, the account concludes with Cavalli's Ori- monte, one realizes that at mid-century music and drama, which only some ten years earlier had been as closely related as two sides of the same coin, were already condemned to their future un- equal and often uneasy partnership.

The later portions of the book, dealing with music that is less easily accessible than the Malipiero edition of Monte- verdi's works (if easy it be), contain a

Goldschmidt and Kretzschmar, it goes far beyond these older authors in analytic intensity and broadness of judgment. The crucial distinctions between the Roman festival opera and the Venetian box office drama emerge clearly from the dis- cussion of such representative works as Luigi Rossi's Palazzo incantato and L'Orfeo-in which the terms "aria" and "arietta" first occur together with the earliest examples of polytextual ensembles -and Cavalli's Didone and Giasone, pre- decessors of the Venetian "type-opera," which contain also some fascinating pre- buffa elements. As the analysis progresses we witness the gradual abolishment of choral scenes, the increased prevalence of high voices to please a public en- amoured of castratos, and the sacrifice of unified action to a varied spectacle. On the other hand, we follow the early evolution of social characterization in operatic music, of the "accompagnato" recitative, and most other ingredients of the later opera seria. When, finally, the account concludes with Cavalli's Ori- monte, one realizes that at mid-century music and drama, which only some ten years earlier had been as closely related as two sides of the same coin, were already condemned to their future un- equal and often uneasy partnership.

The later portions of the book, dealing with music that is less easily accessible than the Malipiero edition of Monte- verdi's works (if easy it be), contain a

rich collection of pertinent musical ex- cerpts, often several pages long, which greatly add to the attractiveness of this indispensable aid in the study of opera's first five decades. Unfortunately, the unusual amount of music reproduced caused the publishers to adopt an awk- ward format that recalls the Lavignac Encyclopedie of blessed memory. While the printing of both text and music is above reproach, the inferior quality of the review copy's paper back turned the most careful repeated perusal into in- voluntary vivisection. Libraries accus- tomed to doing their own binding will be little concerned with this deficiency, but individuals should insist on a hard cover. For this book is not the kind recommended for mere decorative pur- poses. On the contrary, one is tempted to say in conclusion, Professor Abert has created a dependable if not overly com- fortable vehicle that is certainly a far cry from the "Volkswagen" variety. Only those ready and eager to travel the wind- ing road some three hundred years back into history in order to explore the ob- scure but beautiful caves, witnesses of the formative stages of man's most con- tinuously successful type of musical ex- pression, will truly profit from its out- standing qualities. In all probability they will find the going rough but the ultimate rewards satisfying beyond all their ex- pectations.

ALEXANDER L. RINGER

rich collection of pertinent musical ex- cerpts, often several pages long, which greatly add to the attractiveness of this indispensable aid in the study of opera's first five decades. Unfortunately, the unusual amount of music reproduced caused the publishers to adopt an awk- ward format that recalls the Lavignac Encyclopedie of blessed memory. While the printing of both text and music is above reproach, the inferior quality of the review copy's paper back turned the most careful repeated perusal into in- voluntary vivisection. Libraries accus- tomed to doing their own binding will be little concerned with this deficiency, but individuals should insist on a hard cover. For this book is not the kind recommended for mere decorative pur- poses. On the contrary, one is tempted to say in conclusion, Professor Abert has created a dependable if not overly com- fortable vehicle that is certainly a far cry from the "Volkswagen" variety. Only those ready and eager to travel the wind- ing road some three hundred years back into history in order to explore the ob- scure but beautiful caves, witnesses of the formative stages of man's most con- tinuously successful type of musical ex- pression, will truly profit from its out- standing qualities. In all probability they will find the going rough but the ultimate rewards satisfying beyond all their ex- pectations.

ALEXANDER L. RINGER

BRIEFLY NOTED BRIEFLY NOTED The New Milton Cross' Complete Stories of the Great Operas. Revised and Enlarged Edition. Edited by Karl Kohrs. Garden City, N. Y.: Doubleday & Co., [1955]. [xiii, 688 p., 8vo; $3.95] Stories of the Great Operas. By Milton Cross. New York: Perma- books [1956]. [xii, 482 p., 16mo; paper, $0.50] Encyclopedia of the Opera. By David Ewen. New York: A. A. Wyn, [1955]. [x, 594 p., 8vo; $7.50]

The New Milton Cross' Complete Stories of the Great Operas. Revised and Enlarged Edition. Edited by Karl Kohrs. Garden City, N. Y.: Doubleday & Co., [1955]. [xiii, 688 p., 8vo; $3.95] Stories of the Great Operas. By Milton Cross. New York: Perma- books [1956]. [xii, 482 p., 16mo; paper, $0.50] Encyclopedia of the Opera. By David Ewen. New York: A. A. Wyn, [1955]. [x, 594 p., 8vo; $7.50]

Stories of Famous Operas. By Harold Vincent Milligan. Introduction by Deems Taylor. [New York]: New American Library, [1955]. [318 p., 12mo; paper, $0.50] Ihow Opera Grew, from Ancient Greece to the Present Day. By Ethel Peyser and Marion Bauer. New York: G. P. Putnam's Sons, [1956]. [xiv, 495 p., front., 8vo; $6.00] Going to the Opera. By Lionel Salter. (Excursions Series, No. 12.) Lon- don: Phoenix House; New York:

Stories of Famous Operas. By Harold Vincent Milligan. Introduction by Deems Taylor. [New York]: New American Library, [1955]. [318 p., 12mo; paper, $0.50] Ihow Opera Grew, from Ancient Greece to the Present Day. By Ethel Peyser and Marion Bauer. New York: G. P. Putnam's Sons, [1956]. [xiv, 495 p., front., 8vo; $6.00] Going to the Opera. By Lionel Salter. (Excursions Series, No. 12.) Lon- don: Phoenix House; New York:

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