I QUATTRO RUSTEGHI
Intermezzo de l'acte 2. Ermanno Wolf-Ferrari, compositeur d'opéra venitién du XXe siècle, s'est inspiré du style de Mozart et de Rossini en prenant le XVIIIe siècle comme modèle. L'oeuvre "Les quatre Rusteghi" de 1906, tirée de la comédie de Goldoni, s'articule autour du contraste générationnel et de la dialectique entre les sexes. L'intermezzo du 2e acte, caractérisé par une mélodie à la manière d'une barcarolle, est l'une des pièces les plus célèbres de l'opéra.
Compositeur
Ermanno Wolf-Ferrari
Arrangeur
Valerio Semprevivo
niveau
3,5
durée
3'17
formation
Harmonie
Éditeur
Scomegna Edizioni Musicali
format
Partition et parties A4+ (24 x 32 cm)
Product Code
ES B1632.16
ÉCOUTER ET LIRE
Description
Ermanno Wolf-Ferrari (Venice, 1886-1948) musically trained between Venice and Munich, became an opera composer who looked more to Mozart and Rossini than to Puccini and Cilea. Hence, he made the stylistic choice that takes the eighteenth century as a model (including the influence of Carlo Goldoni’s theater) and that earned him success in theaters all over the world.
The Opera “I quattro rusteghi” of 1906 falls fully into this vein and draws from the Goldonian comedy “The company of the salvadeghi, that is the Rusteghi” which revolves around the marriage contract stipulated by the parents on behalf of two young people. The story becomes the ground for a series of vicissitudes and intrigues from which the classic comic motifs of generational contrast and dialectic between sexes emerge.
The Intermezzo from the 2nd act, one of the most famous sections of the opera, sums up well the musical style of the Venetian composer with the barcarolle-like melody supported by a light instrumental writing. The transcription for wind band, maintaining these characteristics, lends itself well to being placed in a concert program centered on symphonic-operatic music, almost like a light and graceful oasis of sound.
The Opera “I quattro rusteghi” of 1906 falls fully into this vein and draws from the Goldonian comedy “The company of the salvadeghi, that is the Rusteghi” which revolves around the marriage contract stipulated by the parents on behalf of two young people. The story becomes the ground for a series of vicissitudes and intrigues from which the classic comic motifs of generational contrast and dialectic between sexes emerge.
The Intermezzo from the 2nd act, one of the most famous sections of the opera, sums up well the musical style of the Venetian composer with the barcarolle-like melody supported by a light instrumental writing. The transcription for wind band, maintaining these characteristics, lends itself well to being placed in a concert program centered on symphonic-operatic music, almost like a light and graceful oasis of sound.
Ajouter un commentaire
