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Historia zaklęta w dźwięki – weryzm historyczny w I Medici Ruggera Leoncavalla

100%
Czemerys A.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47)
141-156
EN
My consideration of the historical opera I Medici is based on the analysis of the piece’s dramaturgy. In my opinion, libretto is a key to understanding any operatic dramas; it constitutes their primary foundation on which subsequent semantic layers of this naturally syncretic musical genre are being formed. Therefore, in my paper I have analysed individual components of the libretto, with a special emphasis placed on the characters, their personality traits as well as their musical representation in Leoncavallo’s work. Analytical operations concerning dramaturgic aspects of the opera are an essential first step in consideration of the musical layer, which lies at the heart of my research. In my paper, I follow the path marked out by a musicologist Luca Zoppelli; however, his work is only a starting point for a more detailed study of the opera’s expression and the procedures used in musical representation of veristic ideas. Verity – not only in historical sense – becomes a leading category which unifies the opera at every level: from its original source recorded in the chronicles to composer’s embodiment of the story.
2
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History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici

100%
Czemerys A.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47) ENG
139-155
EN
My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understanding operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story.
3
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Interpreting Puccini’s Suor Angelica: An application of the semiotics of temporality

58%
Davis A.
Interdisciplinary Studies in Musicology
|
2015
|
issue 14
48-61
PL
This article summarizes recent discussions in the secondary literature of the semiotics of temporality, understood not as time per se but as the “time signified” by the signs in any semiotic system. Drawing especially on theories of the late Raymond Monelle and noting parallels with Monelle in work of, for example, Abbate, Daverio, Kinderman, Hatten, and Berger, the article posits that states of “temporality” in music can correlate with the syntactic signification of linear, teleological motion through time, whereas states of “atemporality” can correlate with syntactic signification of suppressed linear motion through time. As one of the distinguishing semantic characteristics of post Classical music, the signification of extended moments of atemporality is understood as a central expressive issue in the structure of Puccini’s Suor Angelica (from the II trittico of 1918), an opera that divides approximately into two halves: an atemporal half focused on portraying the Roman Catholic church, and a temporal half focused on exploring the character of Angelica, where both halves also include “tropes of temporality” cued by juxtapositions of temporal and atemporal signifiers. That the church in Suor Angelica is elevated to the position of the drama’s primary antagonist is asserted as one of the ways with which the piece engages with the aesthetics of “realism”, an aesthetic that, in turn, informs an interpretation of the opera’s ending, which includes a deus ex machina in the form of an appearance of the Virgin Mary and an apparition of Angelica’s dead son.
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